Other Dimensions




The relationship between the creative act and the phenomenon of quantum tunneling.



It’s quite difficult to put this into words. I have had experiences that could be explained by the current accepted understanding of 11 dimensions according to M-Theory.  Anyway, it seems that the math works out according to experts to support such a phenomenon.

I am not certain my interpretations are accurate, although I have had and continue to have the experiences described here.

From what I understand about science in the past 100 or so years, we have been working towards a unified field by studying smaller and smaller systems and the laws thereof.  Although M-Theory has moved beyond Einstein by way of the Qubit, I am still thinking (in my own work)about it and trying to grasp special relativity as it relates to magnetics and electricity and as this relates to what I am about to talk about. 

Given the above I will now discuss potentials and magnetics: 
I have been very influenced by Allen Turing's use of potentials to isolate a variable.  Using the idea of his Turing Bombe, I discovered the visual equivalent of the polyphonic rhythm by way of complex mathematics and movement applied to a system of 5 kinetic objects that I created in graduate school at Ohio University. Upon moving to New York, I have begun furthering that research - how high levels of potentials within a geometric structure can yield a specific type of thought state in the making of an un-animated object where time is not an element and flatness and thinness are key.    

    a. It has only been in this century that scientists have discovered that magnetic phenomenon is purely due to quantum mechanics. Essentially, what they discovered is that ferromagnetic electrons themselves at an atomic level exert this force field due to a half-filled shell in the atom generating magnetic force intrinsically. 

    b. It is my belief that experiencing other dimensions, if that is indeed what I have experienced, is more than likely to have taken place in a cultivated state of the imagination, or some form of special consciousness.  I believe there is a relationship between the unstable potentials of the creative act and the phenomenon of quantum tunneling. 

    c. Here is a potential theory on experiencing other dimensions:  In certain states of consciousness, the mind connects to the fundamental governing laws of the universe allowing for a window of interconnectedness- not just to 1 other dimension, but to all 11 at the same time in the form of frequencies such as in Satori. Such states may or may not include trauma causing a 'perceived' fracture in chronology of events: violent car wreaks, extreme states of fear or elation, orgasm, transcendental meditation, coincidences, synchronicity, chance, by way of a guide, or other such states.    

    d. How does my selected works relate to other dimensions: Firstly, I believe that I may have experienced such dimensions, although it is not something I discussed at length until now finding the words. My attitude towards making any object has typically been one of a type of divination not unlike the way John Cage strove for sensitivity. Using the materials my mind, body, and location, I try to reach into the vastness and pull something out of the darkness.  Each work acts as a candle for the next.  Just as on the quantum level, due to tunneling, you never know where a particle will end up. 'There is no accounting for taste'. I find each object determines itself, its color, its form, its materiality; however, I have committed to my magnetic process for the past 20 years of my practice- that is the constant throughout.  

     e. How my work and process makes visible some of the complexities as understood by quantum physics: The process has been developed to resemble the ancient tradition of sand painting as seen in many cultures. Colored pigments are colored by hand and are stored in jars for use in dry granule form.  The stainless steel product comes in the form of silver granules, which I think of as water or consciousness. My color system is based on stones and objects that I find or buy.  Applying the pigment is done by sprinkling with my fingers or with a stylized Chakpur. I think of these granules as tiny dice. The particulate drop to the surface as millions of individual points and are pulled into formation by magnetic force (the magnetic plate is behind the canvas during composition). There is a heightened state of potential and chance in the process.  I also work at times in the blind as 50% of my composition is taking place through the canvas by way of magnetic force.  

I am currently struggling to create a bridge between my thought state in the making of the work and to the thought state of the viewer.



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Other Dimensions