Noetitek Art™ – Abstract Meta-Naturalism

Noetitek Art™ opens and represents a new genre of art: “abstract meta-naturalism.”

The style of the Noetitek™ paintings is chromatic, using hard-edge techniques and geometric elements to construct a universal and visual language to transliterate the omnipresent Language of Nature and allow its expression through images akin to magical sigils, ciphers, and mandalas in that they make connections at deep levels of consciousness.

The Noetitek style draws on science, religion, and magic, blending empiricism, spirit, and emotion with esoteric knowledge of the primal energies that drive manifestation at all levels of Mind and Matter. Meta-naturalism heralds a third scientific and technological revolution, a quantum step beyond both Newton’s absoluteness and Einstein’s relativity. Its mission: to help unite, harmonize, and expand human intelligence through enlightened communication among individuals, nations, and, perhaps, worlds.

“Beauteous art,” said Michelangelo, “which brought with us from Heaven, will conquer Nature; so divine a power.”

To see a sample in a round format, open Image File #6. See also the separate blog: www.NewArtGenre.wordpress.com.

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15 Responses to “Noetitek Art™ – Abstract Meta-Naturalism”

  1. Sara B. Says:

    I’m an art history student and a fan of postmodernist art. Is there someplace online where I can see samples of these paintings? Do you have gallery representation for this? I understand that the Noetitek system is based on your grasp of the “language of nature” and I’m recalling Van Gogh mentioning his work in connection with the language of nature. Is there a connection?

  2. PluribusOne™ Says:

    Yes, Van Gogh was attuned to the Language of Nature, using intuition and raw emotion to decode intimations of invisible reality, as if he wore specially tuned night-vision goggles to apprehend otherwise un-seeable dimensions of Nature and display them “forcibly” in color. Picasso, a perceptual trickster, captured in his thoughts the essence of multiple dimensions, views beyond the visual, and overlaid them into two. Cubism with its geometry is almost a reverse perceptual effort compared to that of van Gogh’s concept of realism (he called Realists “delusive”) because it conjures intimations of the non-visible and renders them in code. By contrast to these approaches, Noetitek™ includes the essence of these efforts―as well as those of artists in the Geometric Period of Greece who made their motifs nearly 3,000 years ago―to enhance human perception, and it employs them in a process of trans-coding in order to generate within the artist, and within the viewer, visuals of that which is ordinarily apprehended only instinctively or intuitively, and by confining the expression of multidimensionality to just two-dimensions—a colorful New Flatland drenched with light and devoid of shadow. And, no, only a few pieces of this work have been completed, so galleries have yet to be approached.

  3. Sara B. Says:

    Please post a notice when examples of this new art are released.

  4. PeaceTrainer Says:

    When you say that its mission is to unite, harmonize, and expand human intelligence through enlightened communication, can you give an example of how you plan to achieve this?

  5. PluribusOne™ Says:

    We plan to achieve this by displaying the paintings in galleries, corporate settings, and online; by making prints of the images available for purchase, display, and study; by discussing this genre and the paintings in blogs; by encouraging art therapists to use the images in their work; by lecturing to groups of artists and art students; and by promoting the New Seed of Life design as a logo to symbolize world unity and peaceful collaboration among people in all fields and nations. Let us know if you have additional ideas or can help with this project.

  6. Valiant Says:

    As the creator of this genre, how do you perceive yourself and your mission with this work?

  7. PluribusOne™ Says:

    Valiant,

    I see myself as a blend of visual artist, research scientist, and holistic theorist with a personal mission to help influence, guide, and support the next stage of human evolution―the shift from Homo sapiens to Homo noeticus. The mission with respect to this new genre of art specifically is to unite, harmonize, and expand human intelligence through enlightened communication.

    The mission of the true/ideal artist is opposite and complementary to the mission of the true/ideal scientist. The artist explores and experiences his or her inner landscape and creates/encodes information that alters/ illuminates our perception of the outer landscape. The scientist explores the outer landscape and decodes information to aid construction of the inner landscape/ experience/ illumination/ understanding of our perceptions. Theorists attempt to describe what artists and scientists are doing and explain what it means. The genre of Abstract Meta-Naturalism intersects these three missions, and I am at the center of that intersection: the artist, scientist, and theorist in one person wherein the vision, understanding, and description of Reality are synchronized functions of a Natural/holistic process.

    ―Alan E.

  8. Sara B. Says:

    Alan,

    From your perspective then, was Picasso more than an artist? What about Van Gogh?

    –Sara

  9. PluribusOne™ Says:

    Van Gogh can be said to epitomize artfulness: an artist whose inner and outer worlds were inseparable, a “natural” genius whose paintings ― especially his later paintings which incorporated broader schooling in the use of materials and techniques ― must have caused those who looked upon those works to feel uncomfortable about their relatively divided minds. I suspect that it is for this reason that the “radical sanity” (to coin a term) of a van Gogh or a Jesus is always rejected by the masses of people who prefer to see them as “divinely mad” at best.

    Picasso, on the other hand, was an artist-theorist, heavily influenced by early training by his artist-professor father. A commanding genius, Picasso was also commercially astute, clever, and fully aware of the power of his “brand.”

    Both men had some knowledge of the “occult,” the hidden (not satanic) aspects of Reality, but neither artist can be called an occult scientist or strongly scientific thinker.

  10. Sara B. Says:

    Who would be an example of an occult scientist?

  11. PluribusOne™ Says:

    There are many examples. An excellent 20th-century example of what I mean by “occult scientist” was polymath R. Buckminster Fuller, whose grasp of the metaphysical via mathematics/geometry was reflected in his inventions, such as the geodesic dome and the Dymaxion Home. Within the past year, Fuller has become officially recognized as having been an artist. Some people see him as having been more successful as an unintentional artist than as a scientist. In my thinking, Bucky Fuller was a consummate artist-scientist-theorist.

  12. Sara B. Says:

    You say the style is “chromatic.” What do you mean by that and what is the purpose?

  13. PluribusOne™ Says:

    When I say chromatic, I mean bright, clear colors—the colors that relate to primary principles of Omniverse. This style is not like the “chromatic abstraction” of modern artists such as Barnett Newman, although there is kinship. The colors in my designs are intended to facilitate connections with correspondent dimensional portals and principles.

    People who are strong-willed, clear-minded, self-directed, and purpose-driven are drawn to this post-modernist style because they sense the presence of clues to greater empowerment.

  14. Sandi Says:

    I see from other blog posts that you have done some analyses of old paintings, Renaissance paintings in particular. How do you see your work in the flow of art history? The ongoing development of art seems to have lost its way. Do you intend to break through what I’m seeing as the “dead end” that has persisted for at least 50 years?

  15. PluribusOne™ Says:

    Until becoming substantially displaced and divided up by a scientific perspective of Nature vis-à-vis a religious perspective—the one devoid of Spirit, the other devoid of Reason—art served the human desire to comprehensively connect with the divine, and in Renaissance paintings such as “Mona Lisa,” “The Ambassadors,” “Knight, Death, and the Devil,” “Melancholia I,” “The Three Graces,” and many others, art succeeded where both religion and science failed and have, for the most part, continued to fail (to wit: Bible mysteries persist and quantum theories abound). And, in recent years, as the societal force of science has become more and more religious (e.g., “The Secret,” “What the Bleep,” and cults of the quantum), and as religion has concurrently busied itself acquiring ideas from science (e.g., the Vatican Observatory and apology to Galileo), art has become increasingly abstract and irrational—flailing about desperately like a drowning swimmer—in its search for an advanced approach to communion with the divine. The theme in all three arenas today is chaos.

    The need is for images reflecting a Science of Spirit that reveals the metaphysical unity and its higher-natural process without resorting to mimicking the “concrete” world. NoetiTao™ is that Science of Spirit, and Noetitek™ Art makes the connection to light the way to a New Renaissance that integrates the imperatives of Science, Religion, and Magic without graven images of the lower reality. The rendering of art and the purpose of its visual magic, from Stone Age cave paintings to artworks of the Modern Age, has involved ingenious techniques to trick the eye open to witness a higher level of being toward enabling a better understanding of the “concrete reality.” Renaissance Art created a bridge between those worlds by masterfully blending realism and enlightened idealism—object and subject—portraits of the concrete expressing the invisible (e.g., “Mona Lisa.”).

    In our view, the late works of Francisco Goya, his Black Paintings, marked the real sundown of the European Renaissance. But a new light soon began emerging from out of Goya’s darkness: the colorful and energy-filled Realist works of Vincent van Gogh. Paul Cézanne’s explorations into geometric simplification and optical phenomena followed, and Pablo Picasso’s experiments in cubism carried that torch toward a New Renaissance, a renaissance acknowledging roots that reach back beyond Classical Antiquity to the earliest painters on the walls of caves, while stretching ahead to establish its vision for 21st century. Yet, even as Picasso—in the midst of his disassembling and reassembling of windows on the paradoxical “concrete Illusion”—managed to transfer his insights through paint to canvas, his connection to Source Energy Awareness (SEA) lacked metaphysical coherence, unity with the divine.

    Noetitek™ Art incorporates and goes beyond those efforts to unite and commune with the divine implicate order; it facilitates seeing the “concrete” world itself as the Spirit’s canvas, and facilitates learning that we are all consummate artists operating from that higher level in our dreams as well as in our waking lives. Tricks such as the use of “linear perspective” are inadequate to meet this challenge; instead, Noetitek™ Art embeds “cosmic triggers” in the design of each image. Through these triggers—whether realized consciously or not—Noetitek™ Art facilitates direct connections with the metaphysical. Each work is, therefore, “psychotronic,” a symbolic device that makes not only a visual statement but also makes an empowering connection with the multidimensional forces and purposes of each such statement. So, Noetitek™ Art is a catalyst and conduit connecting receptive human consciousness with the higher Consciousness of Creational energy and the Reality of its metaphysical structures. In short, it helps the viewer to see the systemic laws of Nature and their systematic unity from a new perspective on the physical world of the human eye.

    Compared to the Old Renaissance that swept across Europe at a certain level of society, we envision the emerging Renaissance sweeping across the planet at all socio-economic levels. The elements of Noetitek™ Art reflect both Eastern and Western occultism, and the Noetitek™ designs invite viewers to use them to make metaphysical connections and receive new knowledge of themselves as well as Omniverse. Because of the nature of the style, Noetitek™ Art is able to be reproduced in mediums that represent monetary investments as well as mediums affordable by anyone. Noetitek™ artworks are not meant to be one-of-a-kind, not meant to be valued by the buyer’s sole possession, nor are they intended to be valued based on their commercial worth in mass-reproduction. Their value as sacred objects is independent of medium.

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