Performing the Real/Cohering Art & Life
In the deeply integral praxis of the Goodman Group, the artist residents of San Francisco’s original Goodman Building, we would carve out wholeness together, a whole form of life we envisioned as we went along, deconstructing whatever prevented it or didn’t feel right.
Swirling as it did around the vortex of our evolving shared vision, I’ve since called this movement ‘Neo-Vorticism’ because unlike the Vorticist movement in England in the 20’s that celebrated the explosive dynamics of the machine (their journal was called BLAST!) neo-vortical movement or perfomance is enacted in synch with the toroidal movement of light as it spins upon itself in fractal golden mean proportions.
As Arthur Young described the torus in The Geometry of Meaning, “this is a sphere that expands and contracts, the contraction accumulating the proceeds of the explosion.” As the fundamental form in my art work before the Goodman experience, I was astonished to discover that the torus – the vortex sphere Young identified with the photon of light and meaning - was in fact the geometry of a higher dimensional life, requiring only the expanded co-creative conditions of an open ‘chaotic’ system to manifest in praxis.
We lost the Goodman because the developer-serving bureaucracy didn’t want to acknowledge the truth of our more-with-less plan, but the vector of our struggle held as we carried our vision and the grants we’d accrued to recreate its whole functioning at another site – Goodman2. Conceptually based on my toroidal vision, G2 was designed to link the ecologies of mind and mass, form and chaos, in an integral, open-ended equation. A higher dimensional turn of the design spiral I described in an essay later published in Architecture California – ‘G2: Chaos Architecture, a Metapattern That Connects’ – our architect David Baker was awarded an AIA Award of Merit for its design and quoted as saying “G2 is the first visionary architecture that’s ever actually been constructed.”
Later I formed the Goodman2 Institute and ‘Aesthetic Phase Shift’ lecture series to explore a synthesis between new science, art and life so it might deconstruct the partitions that separate the realm of form from the ‘facts’ of contemporary life – the monolithic, mechanistic structures of waste and domination that are rapidly eroding the human psyche & destroying the planet.
I thus see Neo-Vorticism emerging as a cohering abstraction, a global de/reconstructive
movement synchronized with the expansion of the ‘holomovement’ of dark matter’s invisible light that’s now rapidly compressing 4-d spacetime into an aesthetically reconfigured 5th dimension – predicted to converge with the ‘black hole’ of the ‘strange attractor’ in the galactic center on or about December 21, 2012. Having a previously forbidden non-deterministic structure with 5-fold fractal symmetry and known to comprise over 90 percent of space, ‘dark’ matter was also identified by physicist David Bohm with the ‘primary imagination’ – comparing the holomovement’s vortically improvisational and creative unfolding/enfolding between the ‘implicate’ and ‘explicate’ orders of reality to the emergence of a butterfly from a caterpillar & thus making it critical we know our role in this shaping because we can and do block it with the fragmented, hierarchal thought patterns and technologies we impose – which is where humanity finds itself now.
Manifested in the dichotomy between postmodern irony & pastiche and tea party reaction, ever increasing political and social discord, violence, and the meltdown of the global economy, all provide the potential – if seen and seized – for re-imagining and reconstructing human life. work, and culture through the aesthetic re-writing of history and re-convergence with nature’s economical golden mean code. In this aesthetic sublimation of a falsely objectified reality, form and life can be finally fused in the quintessential phase space of an expanded art – if we synchronize with its fractal golden mean form.
Superceding as it does the modernist geometries of the sphere, the cone, and the cube with the fractal star geometry of the vortex sphere, this new abstraction can prevent the ‘evolutionary cul-de-sac’ anthropologist Gregory Bateson saw coming if we didn’t make the shift from the present ‘dominator paradigm’ to ‘the metapattern that connects’ – the analogue pattern of the heart and art he identified with beauty.
In Hyperspace, physicist Michio Kaku bore this out, suggesting the four-dimensional world may
be starting to collapse as higher dimensions are beginning to unfurl, drawing us into their compacted
curvilinear configurations. Describing this as a phase transition from a quantitative to a qualitative, more stable state, Kaku related it to the dialectical resolution of a conflict when there’s a sudden shift to a
higher synthesis; at the moment when tensions have reached a breaking point “the object goes to a higher stage.” Kaku also suggests beauty is a physical principle in the universe related to compactification .
As Edward O. Wilson wrote in Consilience “…in expanded space-time, the fiery circle of science and the arts can finally be closed.” And the “new beginning of history and art” predicted by Heidegger finally inaugurated.
© Martha Senger