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| Paul Hartal | |
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| 关于此艺术家 | |
I view all paintings as visual portals of the mind and the soul. Part of our enduring fascination with art involves its intellect enhancing and emotion stirring ability in presenting concrete images of such elusive phenomena as cognition, spirit and passion. Immersed in the artist’s vision, paintings arrest and frame the unrelenting chaos of the world. They are aesthetic reflections, symbols of inner processes, metaphors of the physical environment, allegories of our existence, creative expressions imbued with the artist’s sense of order and disorder, meaning and desperation, beauty and ugliness. Art invites us to step into a deeper level of reality that lies under the peel of surface appearances. In my vision the creative power of art can play a significant role in ameliorating the human condition, in making the planet a habitable and welcoming environment for ourselves and for future generations. Without concern, responsibility, care, compassion and love we cannot survive. The birth of the idea of Lyco Art represents a watershed in my artistic development. The genesis of Lyco Art as a new element on the periodic table of art dates back to A Manifesto on Lyrical Conceptualism, which I published in the spring of 1975 in Montreal. Lyrical Conceptualism, or Lyco Art, advances the notion of art as a totality. This means not merely that the scope and range of art extends to every field of human interest but that the creative process of art engages the entire gamut and scale of the artist’s expressive powers. The act of creation may involve every aspect of emotion and reason. All the unconscious and conscious elements on the psychological coordinates of id, ego and superego participate in the process. Body, mind, soul and spirit interact and function in unison. The inclusive properties inherent in Lyco Art transcend the antagonistic tendencies that characterize the grand movements of Art History. Mind you, throughout the history of ideas, art moved between the opposing poles of the rational and the emotional, swinging on a dynamic pendulum of the creative process between Apollonian and Dionysian impulses. Thus, the aesthetic styles of the Greco-Roman world and of the Renaissance were basically harmonious, geometrical, and conceptual. Likewise, Gothic and Baroque art were characterized by sinuosity, passion and lyricism. Moreover, Impressionism, Fauvism, Dada and Surrealism, as well as other movements in Modern art, derive a great deal of their energy from the irrational forces of the human psyche, whereas currents such as Cubism, Constructivism, Geometric Abstraction and Op Art are more related to the rational realm of creativity. As an aesthetic-semantic system blending together poetic, intuitive and cognitive ingredients in the creative process, Lyco Art constructs a conscious bridge between the passion of logic and the logic of passion. The application of the theory of Lycoism to painting and design gives rise to coded expression of colours and forms. For example, warm hues and amorphous shapes may symbolize feelings and emotions, while cold colours and geometric forms may correspond to logic and planning. Lycoism envisions the creative process as an interaction of emotion and intellect. Traditionally, emotion is regarded as an irrational component that hinders clear thinking. I disagree. Certain emotions can enhance reason. Thus, feelings and excitement are indispensable modules of the act of creation. However, Lycoism is not an aesthetic strait-jacket. It does not impose any formal limitations on artistic freedom. It merely suggests. Similarly to Surrealism, Lyco Art is more an attitude than a style. Some people want complete artistic freedom. They reject every form of Ism. But complete artistic freedom cannot exist. Artists do not work in a vacuum and No-ism is also an Ism. Personally, I do not see art as an ivory tower. Art is not for its own sake. I believe, for instance, that art must concern itself with science and technology because in our post-industrial society science and technology determine our lifestyle. At the same time, one of the major goals of art is the humanization of the environment and therefore science and technology should not be our masters but our servants. Intuition and imagination play a salient role in both art and science. Transcending the state of existing conditions necessitates innovative leaps into uncharted areas. Consequently the cognitive faculty of creative imagination is more important in advancing the human condition than the inert body of knowledge. The rise of Conceptual Art in the USA during the 1960s introduced into art an array of revolutionary ideas, spreading rapidly from there to other countries as well. The Conceptualists presented their work in photographs, maps, charts, photocopies, statements, and documents. They explained their thoughts and intentions in a self-referential manner, fusing the role of the artist with the function of the critic. They claimed that the nature of art is conceptual and that the essence of art is the idea. I agreed with the Conceptualists in many respects. Yet, I rejected their agenda when I realized that for them traditional painting and sculpture were obsolete, intellectually worthless decorations. Their aim was the dematerialization of art, its liberation from aesthetics by eliminating morphology, style, tradition and object. The Conceptualists conceived art as information, language and process. In their frame of mind there was no room or need for the past. They saw art history as a useless subject. The study and analysis of beauty annoyed them. Instead, they looked for science and philosophy as superior models of knowledge and reason that art should emulate. For my part, it is all to the contrary. Science can learn a great deal from art. Ignoring or eliminating the subjective aspects from the fabric of reality, as science does, does not make the world more objective. Consequently science in its present form is unscientific. Moreover, the world of the scientist is not closer to reality than the world of the artist. The credo that science can deliver us ultimate truths is a myth. The evidence for this comes from the scientific method itself. For example, Heisenberg’s uncertainty principle in quantum physics and Gödel’s incompleteness theorem in mathematics indicate the systemic limits of science. Its intrinsic weakness prevents science from penetrating into the deep fabric of reality. By and large, the most advanced physical research currently is characterized by the search for a Theory of Everything. Physics today occurs in a fantasy realm of mathematical abstractions. Without being able to support their work by empirical evidence, physicists pursue infinitesimal strings and membranes vibrating in a hyperspace of ten or more dimensions in imaginary parallel universes. Lyco Art is not a branch of Conceptual Art. As a matter of fact, in more than one way, I view Lycoism as a theory which is diametrically opposed to Conceptual Art. Unlike Conceptual Art, Lycoism advocates historical continuity. The past is important because our identity is built on memory. Tossing away paintings and sculptures is an act of alienation, a self-destructive assault against our collective memory. We need our cultural heritage for our own survival. Objects of art are precious treasures impregnated with imagination, beauty and knowledge. They humanize our technological world, enrich our soul and mind. They also protect us against the damage caused by the turbulent intensity of life in the electronic age, against the stressful excesses of our automated society. In contrast to Conceptual Art, Lycoism embraces the search for beauty and meaning as a pivotal motivating impulse of the human experience. I believe that art and science are symbolic endeavours through which humanity explore, structure and interpret reality. There is art in science and science in art. On the whole, it is true though that compared to the rational and objective methods of science, art offers an irrational and subjective approach. Nevertheless, art is completely concrete, and therefore a significant source of authentic empirical knowledge. In certain respects, this form of concrete knowledge even surpasses the epistemological value of the mathematical abstractions of science because genuine knowledge can be only achieved by the experience of the senses, and art is based on sensory realization. |
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Orion Tree
1989 |
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| The complex symbolism of the painting reflects the transformative vision of the fan-shaped astronomical object Orion Nebula (M42). Orion, the Hunter, is a dazzling array of stars that dominate the winter sky and straddle the celestial equator. The constellation also includes the supergiant bright red star Betelgeuse, also known as Alpha Orionis. Looking at the stars of Orion we are gazing along a spiral arm of the Milky way galaxy, full of infant stars. Observing the night sky is a peculiar experience, which involves interaction between the material universe and the human mind.This is a process in which the inner reaches of outer space interact with the outer reaches of inner space. |
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The Torus
1990 |
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| This picture appears in a number of publications, under the title, "How to Make a Torus out of a Painting?". One of these is a 1992 issue of Leonardo. I discuss the painting in "Homage to a Blue Planet: Aeronautical and Astronomical Artworks", an article published in the journal (Vol. 25, No. 2). Mind you,
both mathematics and art are concerned with the study of space, form and symmetry, with abstract ideas and patterns. Contrary to its definition as the science of number and quantity, mathematics is not inexorably a quantitative discipline. It treats certain phenomena rather qualitatively. Topology, for example, is a branch of mathematics colloquially known as rubber sheet geometry. It investigates the permanent properties of objects that undergo deformations. A circle, for example, remains a closed curve with an inside and outside, even if it is widened, twisted or stretched. Topologically, a glove can be deformed into the shape of a circular disk. Furthermore, a glove is neither left handed nor right handed, because by turning it inside out it can be made into both. One the most exciting geometrical objects is the weird Mobius strip, described first time in 1858. It has only one edge and only one side. If you give a half-twist to an elongated rectangle and join its ends, you get a Mobius strip. Quite magically, by cutting it in half along the band it remains one piece!
The painting presented here has been inspired by the Orbiting Unification Ring Satellite (OURS) project. It depicts the topological transformation of a rectangular plane into an anchor ring, with a self-replicating fractal composition. I collaborated with Arthur Woods in the development of OURS, a conceptual giant art satellite planned to orbit the earth and cruise to outer space as a solar-sailing device. Dedicated to global collaboration, culture and peace awareness, OURS was conceived to be a giant torus, a colossal doughnut-shaped anchor ring, one kilometre in diameter. As a geometric object, the torus is topologically equivalent to the rectangular shape of the painting. Joining the opposite edges of the rectangle turns it into a cylinder, and connecting the cylinder's free pair of edges creates a torus. The painting also offers reflection on the non-Euclidean graphic design element of fractal. Introduced in the 1970s by Benoit Mandelbrot, fractals are self-similar entities that produce cybernetic images through information-preserving transformations. Fractals as self-replicating design units are capable of describing the chaotic visual phenomena of the natural world by creating imitations of irregular shapes, like waves,clouds and mountains. In researching the connectivity of painting and mathematics I have collaborated with noted scientists and mathematicians, among them Aage Bohr, P.R. Halmos, John Kemeny, Sir Nevill Mott, Heinz Pagels and Clifford Pickover. Torus is also reproduced in Dr. Pickover's book, Mazes for the Mind (New York: St. Martin's Press, 1992; p. 278), as part of the chapter dealing with my work. The volume has been translated into French, German, Spanish, Chinese, Japanese and other languages. I painted two slightly different versions of this opus and one of them is in the collection of the OURS Foundation in Switzerland. |
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Mind in the Universe
1989 |
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| This work concerns the unity of mind and matter and the experience of actuality as the projection of consciousness into the physical world.The human figure turning his back to the viewer displays bilateral symmetry. The chamber-like interior, with its two enigmatic profiles, is also bilaterally symmetrical and seems to revolve clockwise. The stylized spiral formation, with a black hole in the centre of the square, represents both an imaginary whirlpool galaxy and an array of brain cells. Spirals have rotational as well as translational symmetry. They are also associated with the aesthetic and mathematical properties of the golden proportion and the Fibonacci numbers. From a psychological perspective, the spiral, like the wheel, symbolizes an inner pattern of consciousness. As a peculiar mandala, the spiral serves as a device of meditation for the self that spins from itself the fabrics of life, bridging the past and the future through the conscious present. This painting also reflects on the dilemma of dualism and monism, the tension between the Cartesian separation of mind and matter and the Platonic idea of the primacy of consciousness. The latter is supported by the new paradigm of science. Accordingly, mind and body are one and the same interconnected entity. We are an integral part of the grand mystery of existence, of the energy and information that pulsates across the vast playground of the universe, expanding through space and time. |
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Limoges
1982 |
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| This painting depicts an imaginary market place in Limoges. Inspired by Mussorgsky's famous musical composition, Pictures at an Exhibition, the image is part of a series of works exploring the relationship of music and painting. First exhibited in 1983 as part of my solo show at the Joyce Yahouda Meir Gallery in Montreal, it is described in Painted Melodies, a monograph that I authored as a companion volume to the exhibition. The central part of the Painted Melodies project involved the visualization and reconstruction of the art works that Mussorgsky transcribed into music. The paintings that the Russian composer saw were the works of his artist friend, Victor Hartmann. However, no visual record survived of what actually Mussorgsky saw at the exhibition. Consequently, what I did was an imaginary reconstruction of Hartmann's paintings based on the music of Mussorgsky. In contrast to Kandinsky, Mondrian and others, who have treated the painting-music relationship in terms of the color-tone analogue, I approached it as a problem of form. In the focus of the project, music is refracted and metamorphosed into a series of figurative and abstract paintings that correspond to the two types of music: programmatic and absolute. Also, a pivotal concern of the Painted Melodies project involves the problem of the depiction of melody, the visualization of the auditory musical experience. Is it possible at all to transplant a medium that expands in time into a medium that exists in space? After all musical communication expresses but does not depict. The specificities of disparate media impose their limits and they must be taken into consideration. Nevertheless, in the investigation of the relationship of painting and music, beyond colour and sound, I found a philosophical hint in Wittgenstein's observation that 'form is the possibility of structure'. In the Painted Melodies series I applied this principle by rendering melody on the canvas as a horizontal arrangement and harmony as a vertical one. In the November 9, 1990, issue of the literary journal Es, Balint Szombathy published a critical review of Painted Melodies in Budapest. A decade later the art historian A.P. Diatchenko of the A.S. Popov Museum in St. Petersburg contrasted the "daring novelty" delineated in Painted Melodies with Kandinsky's, theories. He points out that the new approach to the relationship of painting and music as a formal analogue transcends Kandinsky's notion of the connectivity of colour and tone as presented in the Russian artist's landmark book, On the Spiritual in Art. Under the aegis of the Popov Museum, Painted Melodies has been translated into Russian. |
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The Dream
2005 |
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| The Dream is not an actual dream, of course, but a frozen picture of a painted imaginary mental event. The red-coated woman seems to float over the ground and this lends a dreamlike aura to the painting. Flying is a frequent motif of dreams, associated with the desire of breaking free of restrictions, an experience of the sense of freedom. As a metaphor, the sense of freedom is enhanced by the vast space of the unrestrained wilderness under the blue sky, dispersed with cirrostratus and cumulonimbus clouds. The affinity between humans and nature is a frequent motif in art, and the horse is both a personal and archetypal symbol associated with speed, power, companionship, excitement and passion. Artists have been interested in dreams throughout history. The Romanticists concerned themselves with the subjective sensibilities of emotion and imagination, the mysterious and the exotic. The Surrealists turned instincts, reveries and hallucinations into the main subject matter of their art. Dictionaries provide clear definitions for the concept of dream but the thing itself remains an enigmatic and baffling phenomenon. Are dreams real? Plato held that dreams are internal visions, which we remember when we are awake. Aristotle thought that a dream is a fantasy or a kind of imagination that occurs in sleep. William James, on the other hand, stressed that the dream enveloped in sleep is just as real as the state of wakefulness because our attention then lapses from the sensible world. Conversely, when we don't sleep, our attention lapses from the dream realm and it fades away as unreal. An earlier version of this view can be found in Chuang Tzu. The Chinese philosopher believed that dreams were real. Similarly to day and night that regularly alternate and are equally authentic, being awake and sleeping are both real, he said. Chuang Tzu once dreamed that he was a butterfly. Upon awakening he was unable to decide if he was a man dreaming that he was a butterfly, or he was a butterfly dreaming that he was a man. Centuries later, Freud and Jung identified dreams as interactions between the unconscious and the conscious domains of the psyche. However, Jung stressed the power of the collective unconscious, the archetypal images of the self anchored in the cumulative reservoir of human experience. Scientists talk about dreams as a fantasy world associated with sleep patterns characterized by rapid eye movements (REM). However, dreams happen also during non-rapid eye movements (NREM). Dreams continue to puzzle us and remain inscrutable and mysterious phenomena. |
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The Mathematician's Search
2004 |
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| This painting is composed of geometrical patterns and algebraic equations. On the black jacket of the human figure is a colourful circle enveloping a pentagram, or five-pointed star, which in turn produces a pentagon. The configuration involves a variety of mathematical and aesthetic properties, including symmetrical relations, golden sections and Fibonacci number series. Theoretically, an inexhaustible array of smaller pentagrams and pentagons dwell within the circle, receding into the infinitesimal. The mathematical equations on both sides of the protagonist in the painting add a peculiar calligraphic hallmark to the composition. One of the most exciting of these is the astonishingly enigmatic Euler formula, which combines five fundamental mathematical constants: e, 2.71; pi, 3.14; zero, one, as well as the imaginary number i, the square root of minus one. Euler expressed their relationship in the equation of e^ (i pi) +1 = 0. This means that e raised to the power of i times pi, plus one, equals zero. In the 19th century the Harvard mathematician Benjamin Pierce was so puzzled and stirred by this counterintuitive formula that he exclaimed to his students: "Gentlemen, that is surely true, it is absolutely paradoxical, we cannot understand it, and we don't know what it means, but we have proved it, and therefore we know it must be true". Mathematicians are fond of identifying truth with logical proof. By contrast, scientists associate truth with physical evidence, even if it does not provide adequate proof for drawing conclusions. Darwin's Theory of Evolution, for example, is widely accepted as truth, even though that it has not been proved. Since antiquity mathematicians believed that everything could be proved either true or false. Aristotle's rules of logic and Euclid's geometrical theorems were considered infallible models of cognitive certainty. However, in the 19th century Bolyai, Lobachevski, Riemann and others challenged the old school of logic and mathematics. In the new non-Euclidean geometries that they developed the shortest distance between two points, for example, is not a straight line but the arc of a great circle. Aided by mathematics, in the 20th century scientists discovered in quantum physics unfamiliar and strange worlds of reality. In 1927 Werner Heisenberg evolved the Uncertainty Principle: The more precisely the position of a subatomic particle is established, the less precisely its momentum is known, and vice versa. Another crucial event indicating the limits of human knowledge occurred in 1931 when Kurt Godel published his Incompleteness Theorem, showing that mathematics carries propositions that cannot be proved within the axioms of the system. Augmented with his Inconsistency Theorem, Godel demonstrated that there exist mathematical truths, which cannot be proved by logic and they are neither true or false. Goldbach's conjecture, for example, is an unproven mathematical proposition, which states that any even natural number is the sum of two primes. It cannot be verified or falsified because numbers are infinite. You might approach Godel's work through incomplete pronouncements and oxymorons, such as: This sentence is false; or, When a woman says no, she actually says yes. Logically these statements cannot be proven. If indeed "this sentence is false", then it is true, and if it is true then it is false. Also, the statement, "when a woman says no, she actually means yes", transcends the realm of logic and mathematics, leading us to the sphere of real life situations with their conflicting human emotions or moral dilemmas. In any case, as a metaphorical analogue, Godel's Theorem suggests that provability is a frailer idea than truth. Moreover, we cannot really understand our own minds and brains. Nevertheless, the queen and servant of science, mathematics is the most exact human discipline that we have. Its enormous effeciency in applications, its manipulative power over nature, is nothing short of the miraculous. Its formidable and stunning success lacks rational explanation. For, as Albert Einstein observes in Ideas and Opinions: "As far as the propositions of mathematics refer to reality, they are not certain; and as far as they are certain, they do not refer to reality." And mind you, the absolute consistency of mathematics is nothing but a myth. Algebraic rules can be unsettlingly illogical. Take, for instance, the Law of Signs, the rule that minus times minus is plus, or the rule that we are allowed to multiply by zero but forbidden to divide by it. |
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Poet
2004 |
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| Every word is a miracle,
every yarn a syllable.
Oh,
so,
a poet is born
out of letters.
If poetry is what poets do,
then poets are created
by poems: The words in this painted poem form an integral part of the composition.
As a painter and poet I explore the magic and mystery of the world through image and word. Although I serve more than one Muse, I am eager to translate my sensory experience into a unified field of expression. This is not easy, because Western culture compartmentalizes the world into specialized fields of studies. Art, literature and science are seen as independent and unrelated fields. The 17th century French philosopher and mathematician Rene Descartes contributed a great deal to this posture in developing the doctrine that matter and mind are completely severed attributes. For my part it was a long journey to discover that things are interlaced, that seemingly disparate phenomena are connected. One of the major influences that helped me to realize the connectivity of painting and literature was concrete poetry, which uses words as graphic medium. The roots of concrete poetry date back to antiquity. In modern art trends, among others, the Dadaists and Futurists experimented with typographical pattern verse, creating pictures out of letters and words. In communication both pictures and words can play vital roles, reinforcing each other's meaning. Moreover, just as images can represent and depict observable things in a much more accurate manner than sounds and letters, well-chosen words can do a much better job in expressing abstract concepts and ideational notions than pictures. By extension these specificities parallel in a sense the experience of music, which as a particular medium cannot be described accurately neither by words nor by pictures. In any case, historically, the affiliation of seeing and saying, image and word, was known in the West already to the Romans. In Ars Poetica Horace observed that painting and poetry are similar arts: "Ut pictura poesis".
In China, Japan and Korea the unity of painting and poetry is taken for granted. A defining property of Eastern art is the prevalence of calligraphy. Chinese artists, for example, create their work applying brush and ink to silk or paper. Chinese painting is often both painting and poetry, the two are fused into one harmonious art. Unlike Western languages, Chinese is ideographic. There are many variations of styles in Chinese calligraphy. Yet it is an enduring and beloved art in the Orient, which has a continuous history of thousands of years. Unlike in Western countries, in Eastern cultures there is no actual separation between painting an poetry. Painters of the East are often poets themselves and integrate their verse into their calligraphic paintings. Although occasionally Western painters, such as Michelangelo and William Blake, are recognized as great poets as well, they are viewed as anomalous exceptions. Moreover, their painting and poetry are severed art forms, regarded as completely different specificities. Besides, Western culture concerns itself with specialization and therefore it tends to dismiss the creative quality and value of pursuing more than one discipline. Western culture is fragmented and in its compartmentalized vision, poetry and painting are completely different art forms. In my vision it is all to the contrary: Poetry and Painting are not separate pursuits but specific expressions flowing from the same fountainhead of creativity. Eastern cultures understand this. Painting and poetry in the Orient are often seen as identical. In my journeys across China, Japan and Korea I was delighted to discover the unity of these arts. And in line with this great tradition, in April 2004 I exhibited my work at Hanseo University Art Museum in Seoul as painted poems. In addition to the catalogue published by the university, I also presented a volume of my Love Poems as part of the exhibition. In contrast to the East where the unity of painting and poetry are taken for granted, in the West the perception is very different. However, visual verse, or concrete poetry, has emerged here as a composite genre, blurring of the boundaries between language and picture. It is an experimental art form that bridges different disciplines. By making patterns and pictures from words, it mediates between painting and literature. Besides the possibility of creating intellectually stimulating and eye-catching typographical images, concrete poems enhance their meaning by the multi-dimensionality of the composition in which the whole is greater than the sum total of its parts. The earliest known example of a pattern poem is a 23 centuries old piece by the Greek poet Simmias. He produced out of words an egg shaped poem. In the 19th century Lewis Carol in Alice in Wonderland used pictorial typography. In the 20th century Apollinaire and members of Dada and the Futurismo movements as well as others experimented with this genre. The image featured here is a slightly different version of an earlier canvas that was exhibitied in 2004 at Hanseo University Art Museum in Seoul as part of my show of Painting and Poetry.
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Six Fingers
2005 |
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| The Six Fingers growing on the Tree of Life symbolize the luminous joy of being, the wonder of existence. This painting celebrates the precious gift of life through the miraculous act of creation. The six fingers metaphorically allude to the biblical story that the world was created in six days. Although the creation story appearing in Genesis is contradicted by Darwin’s theory of evolution and the cosmological theory of the Big Bang, in my view, there is no real conflict between religion and science, because they both are concerned with the search for truth. The Bible is not a book of science, but of mystical insights, morals, wisdom and tradition, written in a poetic language. On the other hand, science cannot give us ultimate truths. Its epistemological limitations of knowing how real is real are systemic. This is demonstrated by such discoveries as Heisenberg’s uncertainty principle and Godel’s incompleteness theorem. Moreover, the theory of evolution is under constant critical evaluation by the scientific community itself. Besides, the original version of Einstein’s theory of relativity favoured a Steady State of the Universe, rather than creation in a huge fire-cracker Big Bang some 13 billion years ago. A number of leading scientists, among them Buckminster Fuller and Hannes Alfven, maintain that the Big Bang never happened. We are intrigued by the grand existential questions: Where do we come from? Who are we? Where do we go to? Why is there something rather than nothing? What is consciousness? Is the universe finite or infinite? Are there more universes? Are we alone in the cosmos? We have no satisfactory scientific answers to these questions. We live in a creative and metaphoric universe where the truth is imagined rather than objectively apprehended. The symbols in the painting Six Fingers have been inspired by the Jewish mystical doctrine of the Cabala ( Kabbalah ). Cabala mysticism has influenced Martin Buber, Carl Gustav Jung, Rudolf Steiner, Piet Mondrian, Barnett Newman and many others. Umberto Eco’s novel, Foucault’s Pendulum, is structured in accordance with the ten emanations (or sephirot), of the Cabala, and they also crop up in the lyrics of the pop singer Madonna. The Cabala is absorbed in the attempt to penetrate the veiled realm of the transcendental, the origin of the universe, the nature of God, and the secrets of redemption. One of its essential tenets concerns the credo that the gap between the infinite and the finite can be bridged by means of the dynamic flow of emanations, which reveal the divine qualities of the upper world through the parallelism that exists in the lower one, on the human level. The holographic notion of the universe echoes the Cabala: The cosmos is a world within worlds, the part contains the whole. A perplexing synchronicity between Cabala and Physics involves a shared esoteric number. In the Hebrew alphabet each letter represents a numerical value and the sum total of the letters in the word Cabala equals 137. In physics the same number is the inverse of alpha, or fine structure constant, an indicator of the probability that an electron will emit or absorb a photon. It is an uncanny, pure and essential number devoid of dimensionality: Scientists everywhere in the universe, even in the great Andromeda Nebula would get 137 by calculating the combined units of charge, speed and the Planck constant. According to a story, the Nobel laureate physicist Wolfgang Pauli was so baffled by the mysteries of physics that he requested an audience with God. As he was allowed to ask only one question, he asked: Why is alpha equal to one over one hundred thirty seven?
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| 教育程度与个人自传 | |
| Studied Medicine at the University of Szeged, 1955-57; B.A., Hebrew University of Jerusalem (1964); M.A.,history and art history, Concordia University, Montreal (1977), thesis on Georg Lukacs: Aesthetics and History; Ph.D. in Education and Art, Columbia Pacific University, San Rafael, California (1986), dissertation: Interface Dynamics: The Interaction and Integration of Art and Science; critically acclaimed in book form as The Brush and the Compass (Lanham: University Press of America, 1988, 341 pages) Selected Solo (S) and Group (G) Exhibitions: Museum of Fine Arts, Budapest, 2007 (G); Musee du Chateau Ramezay, Montreal, 2005 (G); Hanseo University Art Museum, Seoul, 2004 (S); Lincoln Center, New York, 2001 (G); University of Oregon, Eugene, 2000 (S); Vigado Gallery, Budapest, 2000 (G); Galerie Alef, Montreal, 1999 (S); Dansung Gallery, Seoul, 1998 (S); Municipal Library, St. Laurent, Montreal, 1994 (S); InterCommunication Center, Tokyo, 1996 (G); Musee de la Poste, Paris, 1994 (G); Centro Civico Social, Alcorcon, Madrid, 1994 (G); Spaceweek, NASA Space Center, Houston, 1994(G); Eco Museum, Savona, Italy, 1991(G); Sion Museum, Switzerland, 1990(G); Micro Hall Art Center, Oldenburg, Germany, 1989 (S); Espace 31, Paris, 1989 (G); Munson-Williams-Proctor Institute, New York, 1989 (G); Olympic Art Festival, Seoul, 1988 (G); Centre Psycho-Social, Montreux, Switzerland, 1983 (S); Galerie Joyce Yahouda Meir, Montreal, 1983 (S); Musee du Luxembourg, Paris, 1978 (G); International Art Fair, Washington, DC, 1976 (G); Jacquie Gallery, Montreal, 1975 (S); Colbert Gallery, Montreal, 1974 (G); Publications: Postmodern Light: A Collection of Poetry (Montreal: Orange Monad Editions, 2006, 122 pages); Love Poems (Montreal: La Galerie Fokus, published on the occasion of the artist's exhibition of Painting and Poetry, Hanseo University Museum, Seoul, 2004, 56 pages); The Hidden Orchard: Love and Cosmos (Montreal: Galerie Alef, 1999, 64 pages); The Kidnapping of the Painter Miro, or The Butterfly Kite: A story of adventure, love and mystery, wherein reality unfolds as a myth and art strips the soul naked, illustrated by the author (New York, Montreal: Elore Publications, 1997, 2001, 250 pages); Visions: Moments in Frame (Montreal, Owings Mill: Contemporary Poets Series, 1998, 16 pages); Rain Drop (Poetry, Montreal: Centre for Art, Science and Technology, in collaboration with Ward-Nasse Gallery, New York, 1994, 64 pages); The Brush and the Compass: The Interface Dynamics of Art and Science (Lanham, New York, London: University Press of America, 1988, 341 pages); Black and (visual poems, Montreal: The Lyrical Conceptualist Society, 1984, 40 pages); Painted Melodies (The Visualization of Music, monograph for the artist's exhibition, Montreal: Galerie J. Yahouda Meir, 1983, 58 pages); Vernissage (Montreal: The Lyrical Conceptualist Society, 33 pages); Capricious Catalogue (Montreal, 1979, 27 pages); Ode to a Skyscraper: Seven Concrete Poems (Montreal: The Lyrical Conceptualist Society, 1979, 9 pages); A Manifesto on Lyrical Conceptualism (Montreal, 1976, 4 pages); A History of Architecture (Jerusalem: Rubin Mass, 1972, 344 pages); Also numerous poems, essays and articles published in anthologies, peer reviewed journals, newspapers and books, including Poetry Canada, Poetic Realm, Leonardo, Ylem, Pulsar, Orbiter, Contemporary Philosophy, The Montreal Gazette, The Budapest Sun, as well as other forums. Projects: Painting and Space Exploration--Invited by Arthur Woods to participate in the development of the Orbiting Unification Ring Satellite (OURS); In 1994 invitation from Spaceweek to honour the 25th Anniversary of Apollo 11's historic landing on the moon with visionary paintings depicting "the glories of the universe": Exhibits a poetic vision of the red giant star Antares at the NASA Space Center in Houston, TX. Publishes article on Space Art in Orbiter (January-February, 1995). In the 1980s begins collaboration with Aage Bohr,Bernard Grad,P.R. Halmos, Arthur Koestler, Sir Nevill Mott, Victor Weisskopf and other renowned scientists. Delivers lecture on Creativity, McGill University, November 29, 2000; Starting in the 1990s, collaboration with Dr. Patch Adams on Art and Medicine. Lecture: The Healing Role of Art, University of Oregon at Eugene, February 24, 2000; Art and Mathematics, lecture at Teachers' Convention, Palais des Congres, Montreal, 16 November, 1995; In the 1980s the artist forms the Centre for Art, Science and Technology in Montreal. In his book Mazes for the Mind, IBM Research Staff Member Clifford Pickover describes the Centre as a network that "facilitates the exchange of ideas between the various domains of human knowledge". Hartal publishes his research findings in books such as, J.B. Ambekar, Communication and Rural Development (New Delhi: Mittal, 1992); Clifford A. Pickover, Time (Oxford University Press, 1999); Chaos in Wonderland (New York: St. Martin's Press, 1994) and The Zen of Magic Squares, Circles, and Stars (Princeton University Press, 2002).The paper "Perceptual Ambiguity and Metaphoric Conceptualization" appears in Contemporary Philosophy (July-August, 1990). In 1992 Leonardo publishes, "Homage to a Blue Planet" (Vol. 25, No.2), and two years later, "The Functional Space Monument" appears in print in Ylem, an American periodical of artists using science and technology (February 1994). "The Songs of the Double Helix: Symmetry and Lyrical Conceptualism" is published as a chapter in Symmetry 2000, edited by I. Hargittai and T.C. Laurent (Wenner-Gren International Series, London: Portland Press,2002). |
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