We aim for the impossible Triptich 's Central Panel title : We aim for the impossible..! We are realists..!

CENTRAL PANEL OF TRIPTICH 

WE AIM FOR THE IMPOSSIBLE...!

WE ARE REALISTS...!

Transcendental Surrealism as the New Surrealism of 21st century , spreads a new meaning to the word impossible by expanding the limits to new boundaries unprecided before....!

Contemporary artist - here in this artwork- like a modern Robin Hood,  aims for the impossible by using a brush instead of an arrow to succeed his target...!  

His palette and brushes at bottom right are serving like the arrows quiver..!!!

TRANSCENDENTAL CONCEPTION IS THE FIRST PILLAR OF TRANSCENDENTAL SURREALISM.

TRANSCENDENTAL SURREALISM IN VISUAL ARTS MEGA PROJECT.

INTERVIEW OF GIORGIOS VASSILIOU TO INTERNATIONAL ART ART MAGAZINE 

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GIORGIOS VASSILIOU

Towards the end of curiosity

호기심의 끝을 향해서

Gegen Ende der Neugier

Transcendental Surrealism. It is the editor's purpose to help readers understand this word, the sanction that runs through this article. In conclusion, this concept, proposed by Giorgios Vassiliou and developing day by day, is a project full of humanity. Before we begin, let's take a look at the concept of transcendental surrealism.

초월적 초현실주의. 이번 기사를 관통하는 제재인 이 단어를 독자들이 이해하도록 돕는 것이 에디터의 목적이다. 결론부터 말하자면, Giorgios Vassiliou가 제창하고 나날이 발전하고 있는 이 개념은 알고 보면 인류애가 가득한 프로젝트이다. 시작하기에 앞서, 초월적 초현실주의라는 개념에 대해 한번 따져보자. 

Transzendentaler Surrealismus. Es ist der Zweck des Herausgebers, den Lesern zu helfen, dieses Wort zu verstehen, die Sanktion, die sich durch diesen Artikel zieht. Zusammenfassend lässt sich sagen, dass dieses Konzept, das von Giorgios Vassiliou vorgeschlagen wurde und sich Tag für Tag weiterentwickelt, ein Projekt voller Menschlichkeit ist. Bevor wir beginnen, werfen wir einen Blick auf das Konzept des transzendentalen Surrealismus.

Even if it takes a lifetime, I won't stop

평생이 걸려도 멈추지 않아

Auch wenn es ein Leben lang dauert, ich werde nicht aufhören

The general definition of surrealism is an art movement that originated in France in the 1920s. Artists in this field construct a surreal, unconscious, and unreasonable worldview in their work.

We also know the names of these two men, Sigmund Freud and Carl Gustav Jung. While talking about surrealism, you may suddenly wonder why I am mentioning the names of these two people. Surrealism was laid out on the foundations of Freud's psychoanalysis. Also, 'symbol', one of the elements that make up Jung's theory, is an essential element in understanding Surrealist works.

Now let's talk about the transcendental surrealism of Giorgios Vassiliou that is built on top of it.

일반적인 초현실주의의 정의는, 1920년대 프랑스에서 시작된 예술 사조이다. 이 분야의 작가는 자신의 작품에서 초현실적이며 무의식에 영향을 받은, 이성적이지 않은 세계관을 구축한다.  

또한 우리는 지그문트 프로이트와 칼 구스타프 융, 이 두 사람의 이름을 안다. 초현실주의 이야기를 하다가 갑자기 왜 이 두사람의 이름을 말하는지 의아할 것이다. 초현실주의는 프로이트의 정신분석학이라는 토대 위에 펼쳐졌다. 또한 융의 이론을 이루는 요소 중 하나인 상징은 초현실주의 작품을 이해하는 데 필수적인 요소이다. 

이제 이 위에 쌓아올려진 Giorgios Vassiliou의 초월적 초현실주의에 대해 이야기해보자. 

Die allgemeine Definition des Surrealismus ist eine Kunstbewegung, die in den 1920er Jahren in Frankreich entstand. Künstler in diesem Bereich konstruieren in ihrer Arbeit ein surreales, unbewusstes und unvernünftiges Weltbild.

Wir kennen auch die Namen dieser beiden Männer, Sigmund Freud und Carl Gustav Jung. Wenn Sie über Surrealismus sprechen, fragen Sie sich vielleicht plötzlich, warum ich die Namen dieser beiden Personen erwähne. Der Surrealismus wurde auf den Grundlagen von Freuds Psychoanalyse angelegt. Auch „Symbol“, eines der Elemente, aus denen Jungs Theorie besteht, ist ein wesentliches Element für das Verständnis der Werke des Surrealismus.

Lassen Sie uns nun über den darauf aufbauenden transzendentalen Surrealismus von Giorgios Vassiliou sprechen.

From the preceding paragraph we see that Surrealism has been influenced by contemporary psychology since the 1900s. As time passed and the 2000s came, many academic and technological developments took place, and people's perceptions and psychology also underwent many changes. Nevertheless, surrealism, an art based on the human unconscious, was still not free from the style of the past. Transcendental Surrealism was born out of an effort to bridge the gap between the environment and the pace of development of art.

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Realizing the consciousness and psychology of humans living together in the contemporary era through visible art... Perhaps that is the goal of transcendental surrealism. To do this, an understanding of human beings, an understanding of history, and an understanding of the environment in which humans live are essential. It can be a really huge project. Giorgios Vassiliou embarked on a truly long journey for this project. For this project, Giorgios Vassiliou indulged in the disciplines of geometry, physics, philosophy, psychology, theology, and sociology, studied mysticism as a concept, and delved into the history of art.

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Giorgios Vassiliou considered himself like a child looking at the stars in the night sky, in order not to create limits and to maintain an ever-expanding range of thoughts. From the age of 12 he participated as an artist in art exhibitions and studied architecture at university. He painted and wrote. He did not stop imagining, and he constantly threw the topic of 'what if' to himself. Giorgios Vassiliou uses the sfumato technique, which does not show a clear boundary between the materials of his work, and the chiaroscuro technique, which provides extreme contrast by illuminating the central material with a spotlight. In addition, he always permeates light and movement within his works. These techniques give perspective, realism, and dynamic feeling as if a scene in a movie was paused.

앞 문단을 통해 우리는 초현실주의가 1900년대 이후로 당대의 심리학에 영향을 받았음을 알았다. 시간이 흘러 2000년대가 되었고, 수많은 학문적인 발전과 기술적인 발전이 이루어졌으며, 그에 따라 사람들의 인식과 심리 역시 많은 변화를 겪었다. 그럼에도 불구하고 인간의 무의식에 기반한 예술인 초현실주의는 여전히 과거의 스타일에 자유롭지 못했다. 이러한 제반 환경과 예술 간의 발전속도의 괴리를 메꾸려는 노력에서 초월적 초현실주의는 탄생되었다. 

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당대를 함께 살아가는 인간의 의식과 심리를 가시적인 예술로 구현하는 것... 어쩌면 그것이 초월적 초현실주의의 목표일 수 있다. 그러기 위해서는 인간에 대한 이해, 역사에 대한 이해, 그리고 인간이 살아가는 제반 환경에 대한 이해가 필수적이다. 정말 거대한 프로젝트가 아닐 수 없다. Giorgios Vassiliou는 이 프로젝트를 위해 참으로 오래 걸리는 여정을 시작했다. Giorgios Vassiliou는 이 프로젝트를 위해 기하학, 물리학, 철학, 심리학, 신학, 사회학 등의 학문들을 탐닉했고, 개념으로서의 신비주의를 연구하였으며, 예술의 역사를 파고들었다.

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Giorgios Vassiliou는 한계를 만들지 않고 끊임없이 뻗어나가는 생각의 범위를 유지하기 위해 자기 스스로를 밤하늘의 별을 바라보는 아이처럼 여겼다. 12세부터 미술전시회에 작가로서 참여하였고, 대학에서는 건축을 공부하였다. 그림을 그렸고, 글과 각본을 썼다. 상상을 멈추지 않고, '만약'이라는 화두를 끊임없이 스스로에게 던졌다. Giorgios Vassiliou는 작품 소재간에 명확한 경계를 나타내지 않는 스푸마토 기법과 중심 소재에 스포트라이트를 비추어 극단적으로 명암이 대비되는 키아로스쿠로 기법을 사용한다. 또한 그는 작품 내에서 빛과 움직임을 항상 퍼지게끔 한다. 이 기법들은 영화의 한 장면을 일시정지한 것 처럼 원근감과 현실감, 그리고 역동적인 느낌을 준다. 

Aus dem vorhergehenden Absatz sehen wir, dass der Surrealismus seit den 1900er Jahren von der zeitgenössischen Psychologie beeinflusst wurde.

Im Laufe der Zeit und in den 2000er Jahren fanden viele akademische und technologische Entwicklungen statt, und auch die Wahrnehmung und Psychologie der Menschen erfuhr viele Veränderungen. Dennoch war der Surrealismus, eine auf dem menschlichen Unbewussten basierende Kunst, noch immer nicht frei von der Stilistik der Vergangenheit. Der transzendentale Surrealismus entstand aus dem Bestreben, die Kluft zwischen der Umwelt und dem Entwicklungstempo der Kunst zu überbrücken.

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Das Bewusstsein und die Psychologie des Zusammenlebens der Menschen in der heutigen Zeit durch bildende Kunst zu verwirklichen ... Vielleicht ist das das Ziel des transzendentalen Surrealismus. Dazu sind Menschenverständnis, Geschichtsverständnis und Verständnis für die Umwelt, in der Menschen leben, unabdingbar. Es kann ein wirklich riesiges Projekt werden. Giorgios Vassiliou hat sich für dieses Projekt auf eine wirklich lange Reise begeben. Giorgios Vassiliou frönte für dieses Projekt den Disziplinen Geometrie, Physik, Philosophie, Psychologie, Theologie und Soziologie, studierte Mystik als Konzept und vertiefte sich in die Kunstgeschichte.

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Giorgios Vassiliou betrachtete sich wie ein Kind, das die Sterne am Nachthimmel betrachtet, um keine Grenzen zu setzen und einen immer größeren Gedankenkreis zu bewahren. Ab seinem 12. Lebensjahr nahm er als Künstler an Kunstausstellungen teil und studierte Architektur an der Universität. Er malte und schrieb. Er hörte nicht auf, sich etwas vorzustellen, und warf sich ständig das Thema „Was wäre, wenn“ vor. Giorgios Vassiliou verwendet die Sfumato-Technik, die keine klare Grenze zwischen den Materialien seiner Arbeit zeigt, und die Chiaroscuro-Technik, die einen extremen Kontrast bietet, indem sie das zentrale Material mit einem Scheinwerfer beleuchtet. Darüber hinaus durchdringt er seine Arbeiten stets mit Licht und Bewegung. Diese Techniken vermitteln Perspektive, Realismus und ein dynamisches Gefühl, als ob eine Szene in einem Film angehalten wurde.

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Γιωργος Βασιλειου

Published, Copyright by 

ART?ART! Editor Team

date

2022. 08.10

This transcendental Surrealist movement is indeed a broad concept. The artist expresses the symbols that act on people's unconscious in his work, and wants to convey happiness to those who appreciate the work. To do this, the artist must first have a deep understanding of the materials and elements. Looking at it this way, it seems like a difficult 'scholarship'. However, just as new and disruptive concepts such as the law of universal gravitation and the principle of relativity became more and more common over time, this transcendental surrealism, even though it seems unfamiliar to us now, will gradually become a familiar concept to our daily life. Because this project is about human technological development and understanding of consciousness, in the end, the more intellectual acquisition of all of us increases, the closer we will come to the understanding of this project.

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There is a person in history that came to mind while I was talking. Salvador Dali was a surrealist painter and a director who wrote and directed films. Perhaps we are seeing the moment when the new Dali of this era spreads its wings.

이 초월적 초현실주의 운동은 참으로 폭넓은 개념이다. 사람들의 무의식에 작용하는 상징들을 작품에 표현하고, 그 작품을 감상하는 사람들에게 행복을 전하고자 한다. 그러기 위해서는 먼저 소재 및 요소들에 대하여 깊은 이해를 해야 한다. 이렇게만 보면 어려운 '학문'같아보인다. 하지만 만유인력의 법칙이나 상대성 원리처럼 새롭고 파격적이던 개념들이 시간이 지나며 점차 보편화 되었듯이, 이 초월적 초현실주의 역시 비록 지금은 우리에게 생소해보이지만 점점 우리의 일상에 익숙한 개념이 될 것이라 생각한다. 왜냐하면 이 프로젝트는 인간의 기술적 발전과 의식에 대한 이해를 소재로 삼는 프로젝트이기 때문에, 결국에는 우리 모두의 지적 습득이 늘어날 수록 이 프로젝트에 대한 이해에 다가가게 될 것이기 때문이다. 

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이야기 하다보니까 떠오른 역사 속 인물이 있다. 바로 초현실주의 화가이자 영화의 각본을 쓰고 연출을 했던 살바도르 달리이다. 어쩌면 우리는 지금 이 시대의 새로운 달리가 날개를 펴는 순간을 보고 있는지도 모른다. 

Diese transzendentale surrealistische Bewegung ist in der Tat ein weit gefasster Begriff. Der Künstler bringt in seiner Arbeit die Symbole zum Ausdruck, die auf das Unbewusste der Menschen einwirken, und möchte denen, die die Arbeit schätzen, Freude vermitteln. Dazu muss der Künstler zunächst ein tiefes Verständnis für die Materialien und Elemente haben. So gesehen scheint es ein schwieriges „Stipendium“ zu sein. Doch so wie neue und disruptive Konzepte wie das Gesetz der universellen Gravitation und das Relativitätsprinzip im Laufe der Zeit immer häufiger wurden, wird dieser transzendentale Surrealismus, auch wenn er uns jetzt ungewohnt erscheint, allmählich zu einem vertrauten Begriff für unseren Alltag Leben. Da es bei diesem Projekt um die technologische Entwicklung des Menschen und das Verständnis des Bewusstseins geht, werden wir letztendlich mit zunehmender intellektueller Aneignung von uns allen dem Verständnis dieses Projekts näher kommen.

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Es gibt eine Person in der Geschichte, die mir in den Sinn kam, während ich sprach. Salvador Dali war ein surrealistischer Maler und Regisseur, der Filme schrieb und Regie führte. Vielleicht sehen wir den Moment, in dem das neue Dali dieser Ära seine Flügel ausbreitet.

My goal is to approach everyone's daily routine

and inspire them to make each day more positive than ever.

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모든 사람들의 일상에 접근하여 매일 보다 더 긍정적인 날들이 되도록 영감을 주는 것이 제 목표입니다.

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Mein Ziel ist es, den Alltag aller Menschen anzugehen

und sie zu inspirieren, jeden Tag positiver als je zuvor zu gestalten.

THE ROBUST FOUNDATION OF TRANSCENDENTAL SURREALISM

Lily protects humanity from Coronavirus threat - Gio Vassiliou - oil on canvas - 60 x 60 cm

A discussion with the visual artist and architect Giorgios (Gio) Vassiliou

Giorgios (Gio) Vassiliou’s wish, to meet each other not only in the real but also in the transcendental, is ongoing.

In a previous conversation with him, we agreed that TS just now starts its long journey through human history and has a lot of destinations and havens to visit. We gave some basic ideas about the timing of the presentation of TS in Visual Arts and in human thought in general. Satisfying a certain interest on the subject by many of our readers, we will discuss the basic structure TS is built upon, as a new conception of the world. 

First of all, as Mr. Giorgios (Gio) Vassiliou says, TS is founded on and expressed by three main pillars. These three pillars are:

Transcendental Perception

Creative Imagination

The Slow Current of Thought

Now, let’s take a closer look at each factor in order to understand the potential result of the synthesis of the three.

To have a better understanding of the fact, it is important we mention that, while we can barely perceive these factors in real life, they are real! The difficulty here is that we tend to ignore them, not knowing that they can be easily perceived through self-observation.

Now, let’s have a closer look into these… But, just before that, we’d better have in mind two strangely important facts we are quite familiar with and they built around us a false reality. I ask your consent on this small traversing, because if the three factors I mentioned before are the pillars of TS, these two limitations of our perception are its beams. The two strange factors are:

The optical paradox of the colors

The illusion of the present moment          

The Optical Paradox of the Colors

In Physics and in optics especially, the colors as we perceive them, are a mere result of the analysis of the solar light into certain frequencies of the light-spectrum, taken the name ‘’the seven colors of iris’’. Then our eyes receive one of these frequencies and our brain translates it as the definite color of the object. But if we carefully examine the procedure, we will see that, when, for example, an object takes in our eyes the color blue, is because it withholds the other six frequencies of the solar light. In this case, the blue frequency is the only one that the surface of the object doesn’t withhold. The other six are taken in and become part of the object’s essence. The only frequency the object abolishes is the blue one. The object denies only this special quality and, while this special quality of blue is expelled, it reaches our eyes and, thus, we name the object blue!

Think about that for a moment. The blue object denies only the blue and accepts all the other colors of the spectrum. And, certainly, we name the object blue as the only acceptable color. The process seems quite unfamiliar with the human relationships; we tend to abolish only these qualities that don’t fit to our personalities.

"Transcendental Woman" by Giorgios Vassiliou - oil on canvas - 60 x 60cm

And so, why, by having to do with an object instead of a human being, the case is different?

I believe, and here the paradox lies, the real color of the object can be found in the synthesis of the six other colors that are accepted by it, and not in the color the object denies! The real color has to give character and identity to the essence of the object and its essence is anything but blue… Think about it. So, the essential color-nature of the object is disguised to our eyes and remains a mystery, while we humans have the clue of blue for it.

So, let’s keep in mind this first paradox…

The Illusion of the “Present Moment”

We will now focus in Physics again and particularly on the sense on “now” or “present moment”. In exactly this moment that the light is translated to the given object, we refer to it as “now”.

We have got an outer clock which consists of the light, our eyes, memory and our wristwatches. But, apart from that, we have got also an inner clock that is based on thought currents, feelings, and subconscious messages. This inner clock does not work as a wristwatch but as a slower or faster flow of thoughts/emotions. Which from these two clocks is the real one, the outer, the inner or a combination of them?

Let’s examine the “now” as it is shown through our outer clock, our eyes in particular. We know that the speed of light is 300.000 km/sec. Furthermore, light is one of the four universal constants and its speed is the same for a moving and a standing observer. This fact exactly, was the triumph of the Special Theory of Relativity, in accordance to the famous Michelson-Morley experiment. We know, of course, that from the moment the light is reflected from an object, it reaches our eyes in just a fraction of time, so as to see the object and perceive the experience as “something that is happening now”. This fraction of time conveys that, when light reaches our eyes the picture we see and experience as “now” –the picture of the object and everything that consist our environment– already belong to the past. This quality of light, to reveal to us a past picture of our world, can be described by the mathematical type s/c = p (whereas s, the distance of the object and c, the speed of light).

"Overhanging memories" by Giorgios Vassiliou - oil on canvas - 60 x 60 cm

The s/c leads us to p. This p is, according to my personal observations that start as far back as when I was 19, takes the term pastivity. This is exactly the quantity of light, to always reveal to us a picture of the past. This is a universal fact due to the definite speed of light (300.000 km/sec). If this condition was not a universal fact, the speed of light should be infinite and indefinable. But if that was the case we would be living in a continuous universal “now” – an improbable situation!

In Physics, there is a similar kind of time, the light-year, which is an astronomical term measuring not time but distance…

One light-year is the distance that light covers while travelling a whole earth-year. It represents a measure of immense magnitude that helps us calculate the even greater distances in the universe. But we are not familiar enough with the pastivity of light. In fact, the light-year replaced past time with a measure of distance.

The essential part is that there is a past, close or distant, that we perceive it as present. When we look at the starry sky, we see a picture of long gone eons. We don’t know if the constellations we see are still there, during our “now” or they have disappeared. So now, you realize this paradox that we perceive as true and real!

Pastivity seems to be timelier than ever, as it reminds us how much time is lost, when we experience something belonging to the past as if happening here and now. The amount of pastivity shows us the degree of our deviation from the real present moment.

Returning later to the area of Physics, I will explain how far pastivity can travel us – because its power extends even beyond the Special Theory of Relativity, and may change our perception of Time.

Our inner clock depends on the rhythm of change of our feelings and thoughts. But let’s take a closer look at the most dominating feeling of all – stress. Living everyday in stress, we use to call it normal and natural. Life is only too closely connected with it. But stress and anxiety, are aspects of fear, constant fear. And our inner clock depends on this!

"The quest of love-Gwyneth Paltrow" by Gio Vassiliou - oil on canvas - 60x60cm

Which is the main characteristic of fear and what are the effects of it on us, concerning our inner clock?

The everyday thought currents rule inside us with a continuous flow, mostly of memories. But the word “memories” has to do with our past (childhood, adolescence, adulthood etc). So why fear, through separate moments, leads us to the past? This is because we react to the presence of fear, and not act to it. We don’t really know present and future, so we react in order to escape to the past which is known to us and, therefore, seems to be our refuge and favorite place to be.

Therefore, we apparently have at our disposal only one direction: to escape from our inner “now” and move towards the past. Everyday life triggers stress and steadily dictates us a from-a-present-to-the-past escapism. While the, always in formulation, “present moment” is not known to us, the future is indefinite and unknowable. Finally, taking the escape route, backwards in time, is an indication that we are afraid of the “now” aspect of life. We don’t know when or where we will die and, while we are afraid of the inevitable, we tend not to think of it as a means of psychological self-defense. Present moment is not only unlived but feared as well. Is the cause of this fear our inability to live and really know the present moment?

So, let’s keep in mind the second paradox.

"Maria Callas - Una Diva for all ages" by Gio Vassiliou - oil on canvas - 80 x 60cm

The Transcendental Perception

Let’s define, after all these, what transcendental perception is not – and then we can focus on what it is…

The usual way our mind works is based on the observer, the object of observation and the result of their interaction on the observer. If we analyze this, we will have two apparent situations:

The Observer is identified with himself, apart from the attention he gives to the object. In other words, the observer is surrounded by introversion, which can lead to depression.

The observer becomes the object of his observation, which leads to mechanicality, where the feeling of “I” is absent and positive or negative feelings may occur through associative thinking, connected with the object of observation.

Having seen beforehand what it is not transcendental, let’s see now what kind of observation TS proposes. What TS suggests, is the idea of double or simultaneous observation.

The observer, at least potentially, gives the half of his attention to the object and the other half keeps it for observing himself at the same time. In this way, something new is happening: the dipole observer-object creates a third pole that observes both simultaneously. The transcendental is this timeless observer of our world and us. We all have this ability, for we were born with it. By this double observation, the automatic identification with the object stops, and so the timeless observer has the chance to bring the feeling of the present moment to the surface of our consciousness. The result is a more complete perception of our beings as parts of an endless cosmic chain. The observer perceives himself as part of a greater whole, transcends the ordinary and mechanical identification with the objects and expands his perception of his being and the range of his experience. The mechanical perception of time as a flow of separate moments that come and go collapses and a new sense of wholeness takes its place. I’m not saying that this process is something easy to achieve, but nature includes it in its possibilities. I have to emphasize that our memory, when double attention is achieved, expands further than its normal limits and marks the experienced fact as a special one. That’s why we may never forget any moment of double attention. A higher providence established this ability, among many others. And, thus, TS proposes this new kind of perception in order to provide a healthier vision: a vision containing the “taking off” (the begging of double observation), the “flight” (the sense of expanded consciousness) and the “landing” (the sense of the all-continuum). This new feeling allows the observer to experience unity and start being a part of the cosmos and master of being in the here and now. He experiences “now” with a sense of movement toward the future, without changing or being limited by nothing. He experiences and feels completely his steady course. Apart from other concepts and psychological systems that cultivate a feeling of the present moment, TS suggests the idea of living in this continuation and expansion of consciousness that is a result of double observation.

The transcendental perception gathers its strength from exercising transcendental meditation, conscious prayer and creative imagination. All this practices are helpful for calming the flow of thought-associations and lead to the refined transcendental perception. In that state daydreaming stops, marking the beginning of a faint conception of the continuum. That faint forward movement gives us a real glimpse of our presence and shatters every feeling of fear and stress. You may try it in action and see how it works! You will have an experience of the present moment that moves slowly to meet the next moment and then you will have a glimpse of the continuum in your everyday life!

Concluding, all the aforementioned elements work together for the appearance of transcendental perception in our lives.

"Bouqouet of flowers in overflowed liquid vase" Collection- by Giorgios Vassiliou

The whole experience can be depicted by the journey of an eagle. There is the taking off, the flight and the landing, with the only exception that we experience this in our everyday lives. Now, the daydreaming and illusions are gone, fears and faults lose ground and stop governing our actions, and we start to move upwards, to the higher levels of our being-house (according to a previous discussion). Thus, we become witnesses of a more conscious perception of impressions with a feeling of safety that our existence in this world is not for no reason!

Transforming these elements and ideas from a transcendental level into a picture on the material plane, we enter to the territory that TS attempts to map in Visual Arts and in our perception.

Time-space continuum is indefinite and uncountable, but alas that is not the case for our magazine, as cleverly GV observes. For this reason, we will continue in a later discussion, with the other two pillars of TS and elaborate further on the matter…