Prologue Of Signum Supra

MFDF Ji.hlava / Jihlava / Czech Republic

Technika / full HD video / 7:43

The initial formula, or if we want matrices, probably lies in dimensions that we cannot contain with our consciousness. However, the deviations of the matrix and its daughter structures create, in the form of mutual interactions and with their valence potential, an effect that people can feel and even reproduce some of them as a work that moves human consciousness. I thus fit the artist into the role of an interpreter of a formula who has the gift not only of reading, but above all of passing on the voice of the matrix to a wider audience. It is not always clear why an artist can translate that particular part of the complex environment of the universe. Of course, the interpreter of the formula is not just the artist. Rather, I believe that the artistic representation of the effects of the matrix on the human psyche is only one of many possible manifestations of a sensitive spirit, which is a clear prerequisite for the ability to draw from the source code. 

I therefore understand the role of the artist as a continuation of the shamanic tradition. I have spent a lot of time in my life in nature and I have a very strong relationship. The structures that I perceive are a spectrum of source code that can be captured by my consciousness, and I am then able to visualize it in my work. There are, of course, many different spectra and many source formula interpreters. 

I think that the diversity of artistic expressions is proof of the infinite complexity of the source. Every other approach to reading the code completes one of its dimensions. We can observe this fact beautifully in the sacral architecture. In the cathedral, the architectural level intersects with the spiritual, musical and content levels. Three shamans, a priest, an architect and a music composer, amplify the effect of the formula on the visitor to the sacred space. Everyone does so on their own and at the same time complement each other. Their interaction is not the addition of spectra, but their exponential amplification. The result is an astonishing vectorization of energy that steeps upwards, and we can almost see its emanating glow rising into the singing trembling walls, which should perhaps not even stand. 

If we focus on the natural geometrization of structures, we will inevitably come to the conclusion that their awareness by human understanding is a process that cannot be included in one human life without previous generational perceptions. In the course of human development, we can map the development of this thinking in great detail, and it is also possible to record the emergence of "data repositories" of this knowledge. It cannot be said that these objects evolve from simple to more complicated. On the contrary, I believe that the complexity of these clues develops in direct proportion to the intellectual awareness of the audience to whom they are referred. Although the fascination with ornamentality is close to man, it is not always necessarily connected with the sacral dimension of the message he conveys. In layman's terms, the child can use a circle to create a number of shapes that have no meaning in the spiritual dimension. On the contrary, several seemingly randomly spaced objects in the field will reveal a map of the starry sky after a deeper examination. If we denote as an ornament a set of points lying in an asymmetrical arrangement, then the previous sentence does not make much sense. But the opposite is true. The structures whose essence I am trying to examine here are a material and therefore a non-kinetic reflection of the processes of patterns and formulas, which are inherently dynamic, and very often also a reflection of different cycles. Thus, the few objects that may remind someone of a cart and another bear cub are supremely symmetrical, since their true meaning lies outside them, or above them. If we lay down in the same place as Asla's photographer "set a longer time", then we would see an incredibly complicated pattern created by the interaction of the observed bodies. An equally important feature of our observation, however, is the awareness of our own dynamics, because, despite our appearance, we move in space and time on the body that carries us. However, such a complicated consideration is difficult for anyone to master, especially when they have to worry about problems that are existential in nature. It is therefore obvious that the chosen individual, whether his predispositions are of a diverse nature, must, as a tax on his social non-involvement in harsh conditions, present social compensation in the form of a translation of his own thoughts. This creates the social status of a formula interpreter, which bears many names in human history.

This reasoning of mine is fundamentally abbreviated and prima facie. However, the introductory thesis is only the basis of my reasoning. We get to the problem of the translation of the source formula, the existence of which I present here as a question, at the moment when the plane intersects, in which the factual phenomena are captured by the symbolic line. At the intersection of these planes lies a complex environment of architectural, philosophical and theological patterns. If we accept as the starting point of our observation the already mentioned proportionality between the complexity of the structure and the translated perception, sooner or later we will come across an exemplary example. I believe that the culmination of the interconnection of the triangle, the stimulus - translation - the recipient, is sacral architecture. If I have to exclude its top element from this category, it will be a Gothic cathedral or its oriental counterparts. I do not dare to compare the ingenuity of their structures. However, I am aware of their same purpose. If one, even subconsciously, is able to perceive even psychidelic appulsive structures of oriental patterns, the amplified space of the Gothic church will have the same effect on him. It is not without reason that the two seemingly incomparable objects are based on the concept of the interweaving of a detailed geometrization of an environment interwoven with symbolism, which in itself hides the same source.

However, our source behaves like a black hole, or rather like a hidden cosmic body that cannot be seen directly. However, it is possible to monitor its impact on the environment, whether it is the deflection of the axis of another body or the expansion field of particles accelerated by its presence. It is certainly not the aim of my reasoning to refute or introduce religious or scientific dogmas. Only as an artist do I present the hypothesis of this being. Its impact is obvious. Proof that some structures have an impact on the human psyche and others do not. It is precisely the fact that the same combinations are repeated across cultural circles that confirms to me the realization that they have a common origin in something that cannot be named, but can be felt and mediated by the environment by attaching a transcendental perception to a geometric structure. The structure taken over through those clues and enriched by its own lexicology by addition to my work.