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EXPERIMENTING WITH TIME IN PAINTINGS


The time that a person spends listening to a particular piece of music is an experience of the sound being impinged on the auditory senses of the listener by the composer. I will call this sensation IMPINGED TIME. The listener may contemplate the music afterwards on his own time.

A spectator may view a painting without experiencing a sensation of impingement. A simple statement or extended analysis as to content or style is a secondary intellectual response. Some common expressions such as "pulsates," "feel the heartbeat," or "has presence" in referring to a Rembrandt figure are in the realm of IMPINGED TIME.

 

THREE APPROACHES TO IMPINGED TIME


THREE APPROACHES TO IMPINGED TIME
PERPENDICULAR TIME is the experience of sensing a "flipover" in an optical illusion. Perpendicular because it is not necessary for the eye to move during this phenomenon. The eye is merely a channel through which the mind responds. In the reversible box (Necker Cube) the intersecting lines at points A and B are indistinguishable to the eye as to whether the horizontal or the vertical is in front of the other, and the decision is left to subconscious activity. Conscious effort may effect a change as well.
HORIZONTAL TIME—Forms having weight or suggesting a direction or thrust will become impinged time through the momentum of anticipation by the spectator.
OPTICAL TIME—When the optical apparatus of the spectator is stimulated by the interaction of lines, by textures or by the belligerency of contrasting colors.

 

 


Fourth Dimension for a Two Dimensional Surface

ON PERPENDICULAR TIME

A static image can elicit a sensation of change. Time is implicit in change.

 

INTENT

To engage and expand that area of consciousness (pre-conceptual) where free-flowing sensations attract and are in the process of being converted into, memory patterns.

 

DEFINITIONS OF TIME

Static Time – Its opposite poles (past and future) being equally infinite exist simultaneously as a static whole.

Subjective Time – The process of constituting a multiplicity of quantitative and qualitative "beginnings" and "ends" by a particular consciousness.

Pre-Conceptual Time – The duration which occurs between states of knowing.

DEFINITIONS OF FIGURES

Static Time Symbol – Its opposite poles being two distinct instances of subjective time, exist simultaneously as a static whole. (A Reversible)

Subjective Time Figure – A particular instance of subjective time. (Memory Pattern)

Pre-Conceptual Time Field – "Sensation" in a state of nascency.

Development

The Pre-conceptual Time Field is that fraction of an instant that the observer experiences as Impinged Time during the flip-over

DEVELOPMENT

The numerous forms which represent the "subjective time figures" should be developed toward a nascent state, reduced in mass while retaining their tensile energies, in order to frustrate the locking-on or gap-closing of the cognitive process, thereby expanding the pre-conceptual time field. The total physical content of the painting equals the static time symbol when all of its forces are in equilibrium and become activated according to the optical and psychical changes occurring in a particular consciousness (Observer).

Phillip Schreibman

September 2, 1966
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number_one.jpg (70438 bytes)

"NUMBER ONE" 1972
STUDY FOR MOTION AND CHANGE AS TIME

Click To Enlarge Painting

 


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MUSEUM / UNIVERSITY EXHIBIT INFORMATION |


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THE BOOK AND PAINTING MUSIC, THE VIDEO |


 


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Revised: January 13, 2010.