The Hyper’Classical Artist expresses the sacred. He causes others to participate in manifest reality as self-transcendent ecstasy. Hyper’Classical art invites self-transcendence enabling the viewer to transcend themselves.
When the culture and politics are harmonious and in sacred association true art appears. Where the sacred is absent, then the best art can do is meditate on the beautiful and bring people to feel that. But there is nothing beautiful without love.
True art is a sacred performance, an act of love. And the highest sacred performance can only occur in a sacred setting with a sacred culture and sacred society, transcending egoity.
2. New
Space
changes
our
Dreams
and
Subjec3ve
Reality
• New
realiza3ons
of
Space
penetrates
into
the
psyche,
changes
our
dreams
and
subjec3ve
reality.
• New
space
and
new
geometry
express
new
beauty.
• Our
historic
geometries
of
space
are
inadequate
to
express
our
contemporary
experience.
– From
the
Flat
space
of
the
Ancients
– To
the
Empty
rigid
space
of
the
renaissance
– To
the
Field
Filled
aggressive
space
of
20th
century
– To
the
holo’linked
space
of
modern
media
connec3ng
all
places
at
once.
– To
the
space
of
Coherent
Source
2
3. Holo’Space
Philosophy
Holo’Space
spiritualizes
art
and
science.
Holo’Space
as
a
perceptual
mode
guides
principles
of
a
spiritually
unified
art-‐science
philosophy.
Holo’Space
is
a
fusion,
a
new
quality
of
percep3on.
The
world
as
a
whole
is
organized
according
to
cosmic
laws
and
harmonic
aesthe3c
principles.
The
Holo’Space
provides
the
paradigm
organiza3onal
understanding
of
Space
offering
path
for
new
technologies.
Holo’Spa3al
Beings
will
learn
by
these
new
principles
to
func3on
as
terrestrial
antennae
to
moderate
the
electroscalar
field
directly
and
establish
communica3ons
with
cosmic
civiliza3ons
throughout
the
universe.
Liberated
from
the
mental
material
concept
of
space
rooted
as
an
arbitrary
point
and
returned
to
living
wholeness,
we
can
understand
space
and
3me,
ac3on
and
fields
as
principled
mediums
of
art.
Vistas
open
beyond
what
most
ar3sts
have
begun
to
consider.
3
5. This
Manifesto
is
a
Vision
for
a
new
direc3on
in
art
Domains
of
Space
– Bring
understanding
of
Space
as
Life
– Point
to
how
our
understanding
of
Space
is
fundamental
to
our
Subjec3ve
Life
– Art
as
a
tool
for
scien3fic,
philosophical,
spiritual
and
crea3ve
realiza3on
and
evolu3on
5
6.
Holo’Space
coalesces
the
random
energies
of
light
and
mind
to
transmit
syntropic
and
negentropic
effects.
Color,
textures,
shapes
and
rela3onships
and
connec3on
are
portals
to
the
open
system
of
Crea3on.
6
7. How
Art
Heals
Crea3on
• Art
are
Acts
designed
to
bring
about
healing
of
Crea3on
• We
assimilate
the
lessons
of
the
Coherent
Complexity.
They
are
laws
and
emergent
proper3es
of
nature
itself.
7
8. 8
Visionary
Art
The
Post
Postmodern
Visionary
Ar3st
expresses
images
that
embody
their
vision
of
the
Spiritual
and
Sacred
Realms.
These
are
found
through
myriad
methods
for
enhancing
visionary
and
imagina3ve
facili3es.
However,
Visionary
Art
is
s3ll
an
extension
of
the
ar3st’s
subjec3ve
experience.
They
are
not
engineering
Space.
9. Visionary
Language
Visionary
language
has
largely
been
trapped
in
the
inadequacy
of
using
material
and
subjec3ve
space
contexts.
Coherent
Space
is
the
source
of
visionary
space
Holo’Qubism’s
aim
is
to
make
coherent
space
part
of
our
collec3ve
reality.
9
10. Founda3on
Objec3ves
• Arrive
to
a
broad
and
general
understanding
of
the
Divine
Psyche
as
light,
energy,
and
magne3sm…
seeking
expression
through
The
Manifested
Whole.
• The
primordial
quali3es
of
Divinity
and
how
to
induce
their
appearance
through
the
Body
of
Humanity.
• The
rela3onship
of
these
Divine
Quali3es
understood
and
developed
in
man
and
the
responsibility
of
an
Enlightened
Humanity
to
ground
these
quali3es
as
the
Founda3on
of
The
New
Civiliza3on/Neu
Epoch.
• The
Laws
and
Principles
of
The
Universe
and
Nature
understood
to
be
the
immutable
Nature
of
Source.
• Arriving
at
a
set
of
characteris3cs
which
contain
The
Psyche
from
THE
DIVINE
POINT
OF
VIEW.
Then
apply
these
to
understand
the
nature
and
development
of
individual
humanity
and
the
func3onal
guidelines
for
the
development
of
The
NEW
CIVILIZATION.
• Not
Human
alone
has
Soul,
but
Soul
or
Psyche
pervades
all.
So
the
characteris3cs
of
Soul
must
be
seen
in
opera3on
through
all
aspects
of
manifesta3on.
Doing
as
serves
to
reveal
the
nature
and
method
of
ac3vity
of
Cosmic
Impulse
of
Love
called
Cosmic
Christ.
• These
characteris3cs
when
properly
understood
explain
the
manifesta3on
of
consciousness
on
Earth
through
every
form.
Just
as
the
life
purpose
of
a
human
being
is
both
limited
and
condi3oned
by
his
psychological
equipment,
so
too
the
Divine
in
His
Psyche
is
condi3oned
by
His
Ins3nctual
Quality
of
Psyche.
In
3me
the
condi3on
of
the
vehicle
limit
the
expression
of
the
Divine
Psyche.
• The
invoca3on,
precipita3on
and
distribu3on
of
cultural
matrices
with
their
impulsive
origin
from
a
trans-‐human
realms
of
significance;
planetary,
solar,
inter-‐stellar.
These
seeds
form
the
basis
for
New
Forms
that
approximate
the
nature
of
the
conceived
truths
in
their
quality
and
appearance.
10
12. 12
What
is
Art
in
the
World?
In
our
world
art
is
banal
drihing
without
meaning
or
significance.
We
have
reduced
art
to
something
fundamentally
deriva3ve,
another
commodity
to
observe
and
judge.
14. Crea3ng
Living
Art
Powerful
crea3ve
energe3cs
release
through
Mul3-‐
Space.
Holo’Space
answers
the
mystery
of
the
three-‐
dimensional
appearance
of
complexity
and
form
and
life.
When
space
breaks
poten3alized
hypersymmetry
then
the
infinite,
unexpressed,
can
show
its
crea3ve
expression
through
mul3plica3on
of
harmonic
complexi3es.
Breaking
the
symmetry
of
Real
Space
shihs
unity
to
interdependence,
so
consciousness
can
Emerge.
Life
is
Holo’dimensional
Coherent
Space
desire-‐
vortexed
through
Material
Lenses.
14
16. 16
Percep3on
is
organized
by
Holo’Space.
Syntropic
scaling
of
order
increase
meaning.
Syntropic
images
transform
the
Being
from
Pure
Sensa3on
to
Representa3on
to
Invoca3on
of
Superconscious
Currents
of
Soul
Reorganiza3on.
Percep3ons
via
Crea3on
are
replaced
by
released
vectors
resona3ng
Coherence.
Tendencies
conserved
in
the
subjec3ve
space
as
mind
respac3alize
as
distribu3on
of
non-‐linear
harmonic
transients.
17. Principled
Intelligence
• All
forms
of
energy
and
maier,
life
and
form
are
supported
by
an
implicate
domain
that
is
neither
energy
or
maier,
that
is
everywhere
exis3ng
having
no
physical
dimension,
the
very
root
of
all
that
is.
• Creator's
Realm
Coherent
Space
Principled
Intelligence.
From
out
of
this
arises
all
that
is.
17
18. 18
Life
inherent
as
the
very
Source
of
Deep
Field
Crea3on
is
Infinitely
Alive
and
Emerges
naturally
and
spontaneously
when
condi3ons
are
met.
When
condi3ons
are
on
the
edge
of
chaos,
maximum
stability
coupled
with
maximum
novel
spontaneity
then
life
as
pure
intelligence
naturally
arises
from
the
very
ground
of
space
through
dimensional
densifica3on
of
the
Prior.
This
is
Dynamic
Satvic
Presence.
The
frameless
is
a
projec3on
of
dimensional
space.
The
denser
the
harmonic
mass
the
more
conscious
the
life.
19. 19
Ordering
the
field
of
poten3al
ini3ates
reordering
of
harmonic
wavepairs.
The
binding
of
form
is
released
through
Holo’Dimensional
expression.
Holo’Space
Expression
radiates
informa3on
as
Sustained
Intelligence.
Poten3al
converges
from
hyperspace
complexity
while
energy
flow
diverges
from
surface
space
as
Shak3
negentropic
Crea3ve
Space
as
Coherent
syntropy
transmutes
Subjec3ve
Ground.
Harmonic
resonant
space
rela3ons
are
themselves
densifying
lifetronic
fields.
Holo’Art
can
help
syntropically
from
Source
organize
the
randomized
energies
of
the
viewer
giving
rise
to
coherence
effects
such
as
visionary
insights
and
levita3on.
Gravita3onal
effects
through
Holo’Space
airac3on
can
be
engineered
as
an
induc3on
of
Coherent-‐Shak3.
Scalar
Field
propulsion
arises
without
a
material
reac3on
medium.
22. Wheelwork
of
Crea3on
• Ar3sts
will
succeed
in
aiaching
art
to
the
very
wheelwork
of
Crea3on.
Art
will
access
the
power
that
is
obtainable
everywhere.
22
24. Holo’Dimensional
Compared
to
Fractal
Space
Frac3onal
Dimension
such
as
2.34
More
than
2
dimensions
and
less
than
3
Example
are
the
surface
of
a
cloud
Used
in
CGI
to
mimic
reality
24
25. Fractal
Form
• Fractal
Space
formally
did
not
exist
as
part
of
human
consciousness
un3l
the
first
images
in
1975
by
Mandelbrot.
Since
then
it
has
impacted
and
transformed
nearly
every
science.
Fractal
Space
has
shown
up
from
the
cosmic
to
the
atomic.
Fractal
complexity
is
created
with
only
a
few
bits
of
code,
z2
+
C.
• New
Space
open
new
fields
of
science.
• Biology
for
example
– Bronchial
branching
– Urinary
collec3ng
system
– Biliary
duct
in
liver
– Network
of
special
fibers
in
the
heart
to
carry
electric
current
• Before
Fractal
geometry
it
was
only
Euclidian
geometry
or
hyperspace
Euclidian
geometry.
Plane
and
solid
geometry.
25
26. The path of involution of Soul and Evolution of Soul
as Kundalini is its reflection as an Embodied
Evolutionary Field. "
Science
is
driving
a
planetary
disorder.
Art
reflects
this.
Art
has
spiraled
into
devolu3on
of
disassocia3on
and
devalua3on
without
any
clear
socially
coherent
vision.
Modernist
and
post-‐modernist
art
side
along
with
pop-‐
culture
relentlessly
descend
into
ever-‐greater
depths
of
vulgarity,
mirroring
the
schizophrenic
loss
of
the
sacred
view.
Degenera3on
of
values
based
art
and
science
separate
disciplines
and
value
systems
not
mutually
interac3ve.
The
reversal
of
world
values
toward
the
Earth
as
sacred
Source-‐created
will
not
be
halted.
A
evolu3onary
dialec3c
operates
by
principles
of
self-‐transcendence.
26
27. Hyper’Classical
Arts
Hyper’Classical
Art
originates
order
through
the
Reappearance
of
Crea3on.
Hyper’Classical
Tools
explore
science
and
philosophy
to
gain
insight
into
the
nature
of
Existence.
Hyper’Dimensional
Art
expresses
alchemical
living
presences
and
crea3ve
ecologies.
Through
Space
and
Poten3al,
the
nature
of
Life
and
Crea3on.
27
28. Changing
Human
Landscape
Vision
proceeds
Manifesta3on
-‐
Art
Proceeds
Science
The
ar3st
visions
a
basis
for
new
sciences
and
mathema3cs,
philosophy,
spirituality,
economics
and
art
to
the
culture
through
inhabi3ng
new
space.
Art
is
space
and
the
feelings
and
understandings
revealed
through
space.
From
new
comprehensions
of
space
come
new
sciences,
economics,
philosophies,
technologies.
From
fixed
view
Renascence
space
came
Newton.
From
Fractal
Space
have
come
thousands
of
new
applica3ons.
True
ar3sts
absorb
and
advance
scien3fic
and
mathema3cal
development
through
revealing
new
visions
of
space.
They
alter
the
form
of
subjec3ve
mind
causing
structural
changes
to
the
cultural
commons.
28
29. Source
of
Art
The
sense
of
what
is
actually
the
source
of
the
beau3ful
has
been
lost.
The
essence
and
source
of
art
is
Love.
Architectural
structure
and
func3on
are
not
the
basis
of
art.
True
art
is
par3cipatory.
29
32. Roots
of
Culture
Advancement
Unbinding
Space
Awareness
is
the
basis
of
cultural
advancement.
The
more
bound
the
space,
the
more
bound
the
mind,
the
more
bound
the
mind
the
more
karma
binds,
the
more
locked
down
our
current
of
spiritual
evolu3on,
the
more
bound
our
crea3ve
freedom,
the
more
bound
is
our
recep3on
of
the
Desire
of
Source.
Hyper’Classical
Art
awakens
new
energy
sources
transduced
coherent
fields
of
freeness.
We
can
extract
life
energies
through
the
precipita3on
of
Space.
Hyper’Classical
Art
expresses
principles
of
non-‐dual
Coherent
Space.
32
33. History
through
Parallel
Lines
– Romans
did
not
realize
that
parallel
lines
converge
in
the
distance.
– Renaissance
Ar3sts/scien3st
realized
that
parallel
lines
appear
to
converge
in
distance.
– Renaissance
Ar3sts/scien3st
did
not
realize
that
parallel
lines
really
do
converge
in
infinity.
– Parallel
lines
are
fields
that
emerge
and
converge.
– Modern
ar3sts
do
not
realize
that
parallel
lines
can
converge
and
diverge
through
many
dimensions
in
all
direc3ons.
33
34. Progression
of
Art
Roman/ancient
world
-‐
tac3le
muscular
flat
Space
3
Dimensional
renaissance
art
Single
Space
Projec3ve
geometric
space
4
Dimensional
–
Cubism
Subjec3ve
Space
–
Dadaist,
Surrealists,
Expressionism
Rela3vity
space
–
Cubism
Visionary
–
Subjec3ve
expression
of
higher
or
other
dimensions
Monstrous
Forms
–
Koch
Etc
Fractal
Space
–
Infinitely
Complex
FormFractal
space
was
never
real
to
the
culture
un3l
Mandelbrot
produced
the
first
piece
of
fractal
art
inaugura3ng
a
new
comprehension
of
space.
Holo’Dimensional
Space
–
Mul3ples
of
Simultaneous
Space
Impressionism
–
Simultaneous
Space
Cubism
–
Subject/Ground
Space
Holo’Space
–
Infinitely
Complex
Sacred
Space
34
35. Ancient
Roman
Percep8on
of
Space
Roman
art
was
muscular
and
tac3le.
A
space
showing
a
predisposi3on
towards
physicality.
In
Roman
art,
objects
close
by
have
dimensionality.
The
further
away
the
space,
the
flaier
the
space
becomes.
35
37. Renaissance
Art
• The
space
our
minds
inhabit
was
constructed
by
ar3sts
5
hundred
years
ago.
This
is
single
point
Euclidean
Space.
• Space
as
something
exis3ng
apart
from
objects
did
not
exist
before
this.
Renaissance
has
become
our
space.
• Alber3,
Leonbarsta
and
others
saw
that
triangles
are
projec3ons
of
a
single
3-‐D
Pyramid
according
to
Euclidean
principles.
• This
led
to
the
physics
of
Newton
and
others
mapping
the
movement
of
objects
through
empty
space.
Ac3on
at
a
distance
is
a
mystery.
37
39. Tradi3onal
Representa3ve
Art
Material
Space
is
the
basis
to
express
Subjec3ve
Space.
This
what
we
in
the
west
consider
proper
art
for
centuries.
39
40. Monet
Realized
to
Express
• In
his
studies
of
nature
he
realized
that
renaissance
space
is
inadequate
to
show
mul3ple
and
simultaneous
space.
• More
than
one
object
in
the
same
space
at
once.
Spa3al
layering.
• Three
dimensional
Euclidean
space
is
arbitrary
and
“corrupted”
with
point
of
view.
and
is
inadequate
to
express
simultaneous
rela3vity
space
and
frame.
• Monet
saw
the
interpenetra3on
of
mul3ple
different
spaces.
The
surface
of
the
pond,
the
space
below
the
surface
of
the
water
and
the
sky
with
clouds
reflected.
More
than
one
space
is
in
the
same
frame
at
once.
• Interpenetra3ng
Space
was
new
to
the
western
experience.
40
43. Subjec8ve
Collec8ve
Space
of
the
Social
changes
of
the
8me
Van
Gogh
Van
Gogh
rendered
collec3ve
space.
He
rendered
the
Subjec3ve
Space
of
the
changing
age
around
him:
the
loosening
of
the
connec3on
to
the
land
and
the
movement
to
a
factory
mercan3le
world
with
its
hopelessness.
In
a
number
of
his
works
he
was
trying
to
render
the
subjec3ve
space
of
the
changing
of
the
ages
around
him.
Of
especial
interest
was
the
loose
of
the
connect
to
the
land
and
the
movement
to
a
factory
mercan3le
world
and
the
hopelessness
that
came
with
that.
43
44. Cezanne
Landscape
• Neuro
Scien3st
• What
impressions
look
like
before
processed
into
concept
44
45. Art
Manifestos
of
the
20th
century
The
first
art
manifesto
of
the
20th
century
was
introduced
with
the
Futurists
in
Italy
in
1909
and
readily
taken
up
by
the
Vor3cists,
Dadaists
and
the
Surrealists
aher
them.
The
period
up
to
World
War
II
created
what
are
s3ll
the
best
known
manifestos.
Although
they
never
stopped
being
issued,
other
media
such
as
the
growth
of
broadcas3ng
tended
to
sideline
such
declara3ons.
Due
to
the
internet
there
has
been
a
resurgence
of
the
form,
and
many
new
manifestos
have
appeared
to
a
worldwide
audience.
45
46. Cubism
Around
the
turn
of
the
20th
century,
ar3sts
became
deeply
interested
in
expressing
the
4-‐dimensional
nature
of
the
world
and
sought
to
discover
this
through
the
study
of
the
direct
principles
of
form.
Cubism
was
at
first
an
inquiry
into
the
principles
behind
form
and
space,
fourth
dimensional
space
as
it
interfaces
with
percep3on.
The
result
of
their
explora3ons
was
a
transforma3on
of
the
frame-‐space.
The
structuring
of
rela3onships
between
percep3on
and
form
within
the
frame-‐space
was
their
method
of
discovery.
It
was
an
explora3on
into
principles
of
form,
the
structuring
of
rela3onships
exis3ng
between
percep3on
and
form
and
their
rela3onships.
This
was
a
discovery
and
an
altering
of
our
percep3on
of
form
with
its
space.
Like
Buddhis3c
Space,
form
and
space
are
inseparable.
46
47. Futurism
Futurism
(Italian:
Futurismo)
was
an
ar3s3c
and
social
movement
that
originated
in
Italy
in
the
early
20th
century.
It
emphasized
and
glorified
themes
associated
with
contemporary
concepts
of
the
future,
including
speed,
technology,
youth
and
violence,
and
objects
such
as
the
car,
the
airplane
and
the
industrial
city.
It
was
largely
an
Italian
phenomenon,
though
there
were
parallel
movements
in
Russia,
England
and
elsewhere.
47
50. Surface
as
Art
Movement
–
No
projec3on
Malevich’s
Supremacist
Composi3on-‐
White
on
White
50
51. Post-‐Modern
Art
Post-‐Modern
art
expresses
and
embodies
ego-‐
based
society.
51
52. Visionary
Space
• Visionary
language
has
been
trapped
in
the
context
of
Material
Space.
• Coherent
Space
is
the
fundamental
source
of
Visionary
Space
making
it
part
of
our
collec3ve
reality.
• True
ar3sts
absorb
and
advance
scien3fic
and
mathema3cal
developments
through
expressions
of
space.
They
render
and
emit
these
to
the
cultural
commons.
Structural
changes
to
subjec3ve
space
and
cultural
landscapes
occur.
• They
alter
our
comprehension
of
space.
52
53. Visionary
Art
• Seeking
for
an
inner
vision
of
a
higher
world
is
largely
the
purpose
of
this
art.
Where
a
higher
dimension
is
sought
it
is
s3ll
through
a
subjec3ve
projec3on.
• The
post
postmodern
visionary
ar3st
expresses
space
that
embodies
their
vision
of
the
spiritual
and
sacred
realms
or
service
found
through
myriad
methods
for
enhancing
visionary
and
imagina3ve
facili3es.
• The
art
of
the
visionary
ar3st
is
s3ll
an
extension
of
the
ar3st’s
subjec3ve
perceptual
Space
however
super-‐Consciousness
it
is.
–
53
54. Visionary
Art
Path
• True
Visionary
ar3sts
seek
to
discover
and
express
the
greater
dimension
of
existence.
• Hyper’Classical
Art
includes
the
Visionary
ar3st’s
path
and
expands
its
possibili3es
and
methods.
• Qubism
is
visionary,
but
the
visionary
expression
does
not
arise
from
the
Subjec3ve
Space
of
the
ar3st.
From
the
connec3on
of
the
Subjec3ve
Space
of
the
Viewer
to
the
Coherent
Space
of
Source.
• Mul3ple
spaces
as
simultaneous
gestalts.
54
57. Art
is
a
Sacred
Ac3vity
Art
has
become
entertainment,
a
way
to
express
one’s
mental
contents.
That’s
no
culture,
to
glorify
and
gorify
the
very
source
of
suffering,
the
bound
mind.
With
no
center,
no
society,
no
necessity
for
the
ar3st.
In
our
3me
there’s
no
cultural
or
social
order
to
the
arts.
They
are
secondary
to
daily
living.
Ar3sts
embody
the
failure
of
the
social
order
to
transmit
an
inspira3on
to
transcend
one’s
toxic
mind,
to
master
one’s
wholeness.
Providing
social
order
valued
by
others
has
intrinsic
fundamental
value.
Sacred
Art
is
not
just
decora3on,
but
is
part
of
the
sacred
purpose
of
the
community.
Art
was
originally
a
sacred
ac3vity,
generated
within
a
sacred
culture.
Sacred
Art
presents
something
that
is
beau3ful
to
people
invoking
cultural
par3cipa3on.
57
59. Holo’Art
Holo’Art
applies
to
living
and
non-‐living,
the
micro
and
macrocosmic
levels
and
the
psychic
realm.
Qubism
can
be
applied
to
culture,
economics
and
poli3cs
as
an
unified
whole
with
no
dividing
different
fields
of
ac3vity
and
knowledge.
59
60. Art
must
Generate
Love
Art
depends
on
the
ability
of
the
viewer
to
feel
love
rela3ve
to
the
presented
expression.
The
art
must
generate
love.
It
must
evoke
a
par3cipatory
feeling.
If
it
frustrates
love,
or
doesn’t
allow
it,
or
does
not
even
try
to
invoke
it,
then
it’s
not
art
really.
60
61. 61
The
surface
of
the
conduit
(art)
embodies
a
frameless
field,
a
projector
and
Projec3on
of
Space.
The
viewed
surface
Is
a
projector
of
complex
dimensional
space.
By
building
and
breaking
and
evolving
the
space
dimensionally,
complex
harmonic
resonance
is
generated
and
amplified.
The
flow
of
informa3on
poten3al
Is
conserved
in
the
complex
space
but
liberated
through
the
surface
projector
viewer
transduced
ac3va3on.
Holo’Qubism
reveals
what
is
Prior.
This
is
a
nega3ve
resistor
effect,
a
negentropic
AND
syntropic
reordering
of
the
surface
space
poten3al.
The
dipole
field
of
the
complex
space
ini3ates
harmonic
densifica3on.
Energy
organizing
is
entropic
decrease.
New
Life
manifests
from
the
Substrate
of
Consciousness.
Holo’Space
Reveals
What
is
Prior
62. Stages
of
Art
Ins3nc3ve
Subjec3ve
Perspec3ve
Representa3onal
Objec3ve
Perspec3ve
Forma3ve
Principles
of
Form
Principle
of
Dimensionality
Archetypal
Qubism
Form
of
Principle
Meta'Synthe3cal
Dimensions
of
Principle
62
63. Divine
Art
Releases
consciousness
from
iden3fica3on
with
differen3ated
awareness
Transla3on
of
the
Human
Psyche
into
the
state
where
self-‐centeredness
as
conven3onally
understood,
disappears.
63
64. Real
Space
in
Modern
Communica3ons
In
Shak3
Space
all
points
are
connected
to
every
other
point.
Modern
media
are
wormholes
connec3ng
all
points
to
every
other
point.
64
66. Holo’Space
in
Art
– Art
can
be
used
for
scien3fic,
philosophical,
spiritual
and
crea3ve
research
and
discovery
– Hyper’Classical
Art
uses
tools
of
art
• To
explore
more
deeply
to
understand
science
and
philosophy
• To
gain
insight
into
the
nature
of
Existence
and
Space
and
Poten3al
• To
explore
the
nature
of
life
as
the
nature
of
Crea3on.
– Space
as
Life
expresses
through
four
domains
of
Space.
Thus
understanding
of
Space
is
fundamental
to
our
understanding
of
Subjec3ve
Life.
66
68. Hyper’Classical
Art
and
Style
Frameless Universal Trans'Globalized Context "
Omni'Scalar Orientation"
Lifetronic Non-relativistic Hyperdimensionality"
Meta-Synthetical Star'Net Imagustry, image industry"
Circuit Structure Energy Ring Temples of Spiralic Resurrection, Spiricles
Flux"
Meraba Grid Vidia Cathedrals"
Syn'Optic Principled Intelligence"
Good of The Whole Syntropic Natural Enlightened Aristocracy "
Isomorphic Mutualization"
Multidimensional and Simultaneous Self Sealed Hermetic Wholeness "
Holo'Graphic Harmonic Fractalism"
Synthesis and Fusion with Open Spontaneous Novelty"
Significance oriented"
Holo'Lectic and Omni'Lectic Logic base"
The 50 Million Year Old Child, Reva-Relational Compassion"
Focus Singularities, Explicate/Inplicate/Transplicate Co'Union"
" " "
68
70. Cultural Synthesis " " "
Aesthe3cs
is
The
Merger
of
Spiritual
Materialism
as
Art-‐Science
Philosophy
Transmuta3onal
Transcending
Divine
Love
Solar
Psyddhis
Electronic
Tribal
Christening
Designs
of
Sacred
Social
Context
Regenera3ve
Enlightened
Co-‐evolu3on
Nourishing
Paierns
of
Resonance
Holo'Theurgic
Fractal
Evolu3on
Revealed
Eternal
Now
Hardwire
Beyond
Dura3on
and
Space
Crea3on
as
Form
in
Persistence
with
definite
Rhythms
that
are
on-‐
repe33ve
Cyclo-‐Spiralic
in
nature
Will
of
Divine
is
the
Materializing
Power.
Our
goal
is
to
be
thus
Possessed
Trans’Immanence
Changeless
Transience
70
71. Healing
Power
of
Holo’Dimensional
Art
• We
don’t
experience
all
that
is
real.
In
the
modern
conven3onal,
the
consensus,
maier
IS
reality.
The
things
that
really
exist
are
bits
of
maier.
Energy
exists
as
it
acts
on
maier
but
space
itself
is
not
real.
It
is
only
the
backdrop
to
maier
• Holo’Space
realiza3on
frees
us
from
the
consensus
that
maier
is
Reality
or
is
only
Reality.
71
73. Holo’Space
All
that
happens
in
one
place
happens
in
all
other
places.
All
that
happened
in
one
3me
happens
in
all
3me
thereaher.
Nothing
and
everything
is
local.
All
Space
is
global
and
cosmic.
The
most
cosmic
is
the
most
local
to
Now.
The
Mem
of
All
extends
to
all
places
and
all
3mes.
73
74. Space
Is
the
Most
Fundamental
of
all
Elements
That
space
is
empty
and
passive
is
the
general
viewpoint
contradicted
by
new
science.
New
science
says
that
Space
is
the
most
fundamental
of
all
elements.
Maier
is
semi-‐stable
clumping
of
energy
vortexes
springing
from
Mother
Space,
a
waveform
disturbance
in
the
connec3ng
field,
memory
of
the
metaverse,
a
cloud
of
dark
light
in
the
Coherent
Sky.
74
75. Hyper’Classical
Art
• Hyper’Classical
art
evokes
par3cipa3on
by
the
viewer
by
involving
the
observer.
• Avoiding
par3cipation
degrades
the
viewer.
• Hyper’Classical
art
heals,
restores
equilibrium,
regenerates
well-‐being
and
can
trigger
spiritual
awakening.
75
76. Hyper’Classical
Ar3st
expresses
the
Sacred
The
Hyper’Classical
Ar3st
expresses
the
sacred.
He
causes
others
to
par3cipate
in
manifest
reality
as
self-‐
transcendent
ecstasy.
Hyper’Classical
art
invites
self-‐
transcendence
enabling
the
viewer
to
transcend
themselves.
When
the
culture
and
poli3cs
are
harmonious
and
in
sacred
associa3on
true
art
appears.
Where
the
sacred
is
absent,
then
the
best
art
can
do
is
meditate
on
the
beau3ful
and
bring
people
to
feel
that.
But
there
is
nothing
beau3ful
without
love.
True
art
is
a
sacred
performance,
an
act
of
love.
And
the
highest
sacred
performance
can
only
occur
in
a
sacred
serng
with
a
sacred
culture
and
sacred
society,
transcending
egoity.
76