A Quote by Paul Klee
Spatial art does not begin with a poetic mood or idea, but with construction of one or more figures, with the harmonizing of several colors and tones, or with the devaluation of spatial relationships and so on.
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I think what art is always doing is making us see the world so differently, and I don't mean just colors and light, but re-thinking relationships, spatial relationships, psychological relationships ... those who gravitate to the art world actually want to be puzzled.
The physics of the 21st century shall deal essentially with non-spatial matter and non-spatial mechanics.
The really important facts were that spatial relationships had ceased to matter very much and that my mind was perceiving the world in terms of other than spatial categories. At ordinary times the eye concerns itself with such problems as where? — how far? — how situated in relation to what? In the mescaline experience the implied questions to which the eye responds are of another order. Place and distance cease to be of much interest. The mind does its perceiving in terms of intensity of existence, profundity of significance, relationships within a pattern.
Gravity is neither a force nor a consequence of any space-time curvature. It is simply an orderly spatial illusion to non-spatial observer/s.
I was diagnosed with a severe temporal spatial deficit, a learning disability that means I have zero spatial relations skills. It was official: I was a genius trapped in an idiot's body.
I am convinced that an electronic machine, no matter how smart and intelligent, being still a mere spatial structure in concept, can neither innovate nor even understand the self-evident proposition: 'No spatial structure can be a representation of any feeling'. Such innovation can only be a work of a non-spatial mind, like a human being, and only such innovation, it should be acknowledged, can pave the way for further scientific achievements.
So far we have done too much of 'spatial engineering'. The real thing is 'non-spatial engineering'.
Artistic form is congruent with the dynamic forms of our direct sensuous, mental, and emotional life; works of art are projections of "felt life", as Henry James called it, into spatial, temporal, and poetic structures.
...to characterize the import of pure geometry, we might use the standard form of a movie-disclaimer: No portrayal of the characteristics of geometrical figures or of the spatial properties of relationships of actual bodies is intended, and any similarities between the primitive concepts and their customary geometrical connotations are purely coincidental.
There's the added element of adrenaline if you're performing. You're aware of spatial relationships and the music.
If the universe is a non-spatial computer, a 'time machine' is a program that allows a user to have the same (ontologically non-spatial) feelings or experiences that occurred or s/he merely feels to have occurred in the past, with an in-built function to have different feelings or experiences than those of the past, and thus creating a possibility to change the past or to rewrite history in a pseudo sense.
Comparing Oceanic art generally with Negro art, it has a livelier, thin flicker, but much of it is more two-dimensional and concerned with pattern making. Yet the carvings of New Ireland have, besides their vicious kind of vitality, a unique spatial sense, a bird-in-a-cage form.
Our sense of justice depends on our sense of time. Justice is a phenomenon only of consciousness, because time spread out in a spatial succession is its very essence. And this is possible only in a spatial metaphor of time.
First, if it is true that a spatial order organizes an ensemble of possibilities (e.g., by a place in which one can move) and interdictions (e.g., by a wall that prevents one from going further), than the walked actualizes some of these possibilities. In that way, he makes them exist as well as emerge. But he also moves them about and he invents others, since the crossing, drifting away, or improvisation of walking privilege, transform, or abandon spatial elements.
Frank Lloyd Wright made houses right up until the end. I think that's important because it gives you a direct connection to all the basic aspects of architecture - the spatial energy of the place, the construction, the materials, the site, the detail.
One of the great intellectual mistakes Einstein made is that he thought that space and time are physically or ontologically entangled. In the present non-spatial universal computational program, space and time happen to be entangled to the extent that, under certain unique circumstances, changes in spatial measurements indicate changes in temporal ones. However, a change in the program itself may cause space and time to disentangle.
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