In my studio in Viiala, I have begun my first hypercubist studies, and I will use one of them as an example of how metronics can be used as a tool for analyzing and examining various events, issues, or problems.
In this study, I apply the dimensions of metatronics and the processes of self-examination to a concrete setting. The aim is not to describe the setting as such, but to reveal its structures, meanings, and the influence of the author’s consciousness on them. The research proceeds dimension by dimension and related stages, in accordance with the integration of metatronics, from three-dimensional observation towards the processes of the mind and finally to the level of consciousness where the work and the author meet.
The still life consists of apples, bananas, and a mariskool bowl placed on a wooden table covered with a cloth made from an old sheet.
The third dimension, information and interaction (3D):
The still life is expressed through its physical structures in the third dimension. In visual art, a still life is a composition of various objects that can be depicted, for example, by painting. Still lifes have been painted throughout art history and have included dishes, fruit, various food items, or other objects. When painting a still life, one can explore its various elements, such as how things and objects interact with each other, how light and shadow behave, and how to depict the still life in accordance with one’s personal vision.
The objects or elements chosen for the still life interact with each other, or they can be used to construct interesting associations or intellectual hints about the artist’s views. A still life is not necessarily just a collection of different things or elements, but can contain a message, a story, or a purpose.
When looking at a painting based on a still life, one can see either an attempt to imitate a real phenomenon, or the skill, technique, and ingenuity of the artist in the painting itself. Depicting a still life as realistically as possible, for example, requires skill and understanding of the methods and tools needed. In order to understand things and factors and how they are arranged on a two-dimensional surface in a recognizable and realistic way, one must understand perspective and how to depict it. One must understand the behavior of light and the phenomena it produces in relation to the painted image. One must also understand the proportions of the subject being painted and its placement on the surface to be painted so that the depicted work is also coherent and interesting to the viewer.
When I use a still life of apples, bananas, a mariskool bowl, and their placement on a tablecloth and table as an example, I must also examine this still life as a whole from many different perspectives.
- Still life: apples, bananas, and a mariskool bowl on a table covered with a cloth
The still life is interpreted by seeing and observing. The still life contains geometric areas and shapes. Different materials are also represented in the still life, such as wood, glass, fruit, and fabric. All of these are structures provided by nature, and they all have their own history. The apple comes from the tree, the tree comes from the seed, and the seed comes from the apple. The fabric was once cotton growing in a field, which also originated from a seed. The table is made of wood, and the wood has grown and originated in the same way. The wood has been crafted by hand according to geometric rules into a table that supports the still life. The purpose of the table is to create a surface on which objects can be depicted.
Through this kind of thinking, we see not only material history, but also different meanings and structures in the arrangement and the factors that influence it. A table is not just a table; it has meaning in relation to the elements placed on it. An apple is not just an apple, but an expression of continuity, repetition, and a cycle. Mariskool is a bowl, an object and a work of art created according to a plan. Glass was once sand, and through a creative process it has been turned into an object. All of the above have been the molded end results of material properties that exist in our reality. All of these also contain geometric mathematical structures. An apple or a table are not abstract objects, but are constructed according to the rules of our reality.
Problem: dismantling and reconstructing the arrangement according to the principles of hypercubism
We will discuss dismantling and reconstructing the setup according to the principles of hypercubism through the equations of the problem. We will define the starting point, point A, and the goal, point B. In addition, we will consider a possible obstacle, a problem, between these two points.
Starting point, A:
The starting point is the entire arrangement placed on a tablecloth on a table, which includes apples, bananas, a mariskool bowl, and an old sheet made of old fabric underneath them. These are placed on a table, which serves as the base for the arrangement.
Goal, B:
The goal is to dismantle the arrangement and rebuild it according to the principles of hypercubism. The goal is to create a hypercubist study that simultaneously expresses three different dimensions: the third dimension of information and interaction, the fourth dimension of mind and thought, and the fifth dimension of consciousness. In the study, the dimensions interact but also intersect with each other both conceptually and structurally. The study is constructed using old material. The base of an old chest of drawers forms the foundation of the study. Other dimensions are represented by an old Finnfoam sheet that served as insulation. The study features various collage materials such as old wood-patterned DC-Fix, wood itself, old clothes, and wood materials. The photo collage brings fragments of our realistic reality.
Obstacle, problem:
After several years of trying to create a hypercubist work, the problem has become the conceptual challenge of creating a visual vision and interpretation that corresponds to the theory. Personal ways of thinking about art painting and previous theories, for example, regarding traditional cubism, have confined thinking to a two-dimensional surface. Cubists tried to capture this multidimensionality on a two-dimensional surface as comprehensively as possible. Ideas about the mind and thought, but also about consciousness, also pose challenges.
How can three different dimensions be depicted simultaneously and convincingly so that they do not exclude or destroy each other? How are these dimensions constructed as the product of a creative process?
In terms of material choices, the elements of theory, such as the referential reminder of the things and factors appearing in the arrangement, pose an obstacle. How can an apple be depicted using recycled materials?
- The nature of the still life:
When observing and interpreting a still life, it is important to examine one’s personal attitude towards it and its nature. In this case, the still life serves as a platform for hypercubist studies. From an informational point of view, the still life does not contain any particular statement or message, but is rather a structural model for future studies. It is a physical, spatial structural entity, the structure of which is to be studied and whose various aspects and factors are to be examined from many different perspectives and angles simultaneously.
The purpose of the arrangement as a whole is to serve as an observable and interpretable object, an exercise piece.
It is also necessary to examine one’s personal attitude towards the still life and the elements it contains. Why have these things and factors been selected for the still life? Why an apple, a banana, a mariskool, a cloth, and a table?
I have done previous cubist studies on the same subject years ago. One principle of hypercubism is that the same things are studied and painted again and again from different perspectives and angles. This is why this particular still life is important to me. Even in this form, the still life has an existing starting point and meaning. It is not a randomly chosen subject, but a continuation of an existing process. One still life thus depicts the same story spanning several years from a single perspective, the perspective of the still life. How do I feel about still life? Still life is a subject of study for me, as I have also painted other still lifes and the elements appearing in them several times. For example, the guitar appears as an element in several of my works in different still lifes and has been depicted in different ways in different periods. These are subjects of research, things and elements. Analyzing, researching, and painting subjects fascinates me, regardless of the painting technique.
The nature of the problem
When examining the problem, the problem is a process of the mind and thought that is related to ways of thinking and attitudes. Learned knowledge and understanding of something obscure the ability to get to the core of the free creative process, to create without thinking and through consciousness.
In this case, the starting point, point A, is clear, and the goal, point B, is also clear. The nature of the problem is related to personal attitudes towards different theories and views on creativity. The starting point is a concrete three-dimensional object, and the goal is to produce a three-dimensional hypercubist study.
- Analysis of the setting:
When analyzing the setup, concrete factors must be taken into account for the purpose of describing it. How do the objects and factors interact with each other and with their environment? How does the apple settle on the surface, how does it interact with other objects and factors, and what is its role in the arrangement as a structural element? How does the banana settle, or how does the mariskool bowl settle? How does the cloth interact with these factors, and what role does the cloth play in the still life? What is the role of the table in the still life?
All these factors and elements in the still life are concrete, existing elements. The fruit and dishes, as well as the table, are three-dimensional, structural, and concrete objects that are placed in their designated positions. The three-dimensionality of these factors is verified by light, which expresses their essence but also reveals the depth and shape of the objects. Light and shadow are therefore just as concrete elements of reality as the apple itself, as a structure, rather than merely as a factor supporting perception. The lights and shadows in this still life reveal its structurality, three-dimensionality, but also its conceptual layering. The table as an element is more than just a table on which the still life is placed. Hidden from view are the supporting structures that make the table a table. These structures cannot be seen, but they are still there, supporting the entire still life. These structures usually remain in the shadows and unnoticed, but without them, as well as the purpose and essence of the table, the still life would not remain stable on the table, or the whole idea and meaning of the table would not exist. In other words, the table would no longer be a table if its structures ceased to exist.
The significance of the tablecloth in the arrangement is also not insignificant. The tablecloth sets a defined area on the table on which the arrangement of fruit and the bowl is placed. They are the frame within which this arrangement is constructed. The tablecloth also emphasizes the arrangement with its frame, creating a base for the fruit and the bowl where they can be seen as themselves. The table is thus a structure that supports the whole and enables its existence as such. Liina creates a frame for the elements and factors that make an impression in the still life. The fruit and the bowl are three-dimensional elements on top of these structural and delimiting planes.
Analyzing the problem
When analyzing the problem, the factors affecting it must be taken into account. The problem consists of conceptual challenges regarding whether it is possible for the artist to abandon old beliefs and ideas about painting, but also theories and ideas that precede personal thought.
This also raises the issue of material selection. Which materials reflect and verify this dimensional thinking? Is anything excessive, and how can balance be maintained? How can materials be used to form a hypercubist view that corresponds to the theory?
When creating the study, the language of hypercubism must also be kept in mind. Hypercubism is a way of thinking that respects structure, meaning, and purpose. How are these characteristics reflected in the work, and how can they be incorporated into the work itself?
- Self-examination in relation to the still life
Self-examination in relation to the still life is simple in this case. Since my goal is to create a hypercubist study from the still life, it is related to my personal research and thought processes on the subject. On an emotional level, I feel joy and childlike enthusiasm.
How this still life and the factors influencing it relate to me is purely a research element. This is a continuation of my previous studies, but at the same time it is a unique hypercubist study, which will be followed by many more studies based on the same still life.
The elements in the still life itself do not affect me much. I like apples, bananas, and the mariskool bowl. I like their aesthetics and, in particular, the primal nature and story of the fruit. Apples have been depicted in still lifes throughout history, hundreds of years before I was born. The apple itself has existed for thousands of years in form and essence.
So I could say that the effect of the still life on me is purely research-based. The still life is an object that I observe and interpret, analyze, and try to change to match my thoughts through a creative process.
Self-examination in relation to the problem
When we examine ourselves in relation to the problem, we must examine our attitude towards the problem. If I am the creator of this study, do I define the framework for this study myself, and through what thought structure?
The biggest problem is our personal attitude towards art and the ideas and expressions that already exist within it. If I am a painter, does that mean I can only paint on a two-dimensional surface or try to visualize my ideas on a two-dimensional surface?
How does my own self influence deconstruction and reconstruction? My attitude? My view? My theory? My own way of doing things?
- Insight and realization regarding the arrangement:
The overall significance of the arrangement, but also the different meanings of the things and factors that influence it, can be examined after studying the arrangement. The arrangement can be viewed as a three-dimensional, meaningless whole constructed from different objects, or it can be deconstructed and made meaningful by examining the things and factors contained within it, as well as their characteristics and stories. According to today’s materialistic view, no material is anything but material, even though material has its own memory and history, but also its purpose and meaning.
An apple is a circular continuum in terms of its essence and form, but it is also food. The apple has also served as a symbol in various historical narratives and stories. An apple is not just a three-dimensional structural object; its historical information and practical uses in the third dimension also make it a significant factor in our reality. This is just one example of a factor in the overall composition. Similar purposes and meanings also apply to other things and factors observed in the composition.
The arrangement also observes physical structures, such as proportions, shapes, and the angle from which the arrangement is depicted. The purpose of hypercubism is to reveal these hidden structures and their significance in relation to the whole, both physically and philosophically. Hypercubism is not just about interpretations of the surface, but of structures, purpose, and meanings. These are more objects of expression than superficial factors. We see and observe surfaces in our everyday lives, but we rarely talk about the structures or characteristics, purposes, or meanings behind them. This is the biggest problem in our society today. Structures and their significance are not appreciated, which is why no one wants to try to understand them. This is also evident in individuals.
Light and shadows reveal the physical properties of a setting. Without light, we would have no setting. Without light, there would be nothing else either. However, shadows should not be underestimated, because without shadows we would not be able to see these structures and would perceive nothing but dull two-dimensional areas. On the other hand, if there are no shadows, it means that there is no light either.
In this case, the still life serves as a platform for a hypercubist study. If we want to gain insights into it, we need to change the way we see the things and factors that affect these objects. An apple is not a realistic form, but an essence and an idea, like other influencing factors and objects. In hypercubism, these essences are verified by a quick line of perception and structural elements that imitate form. The photo collage and other collages provide clues to the realistic essence of the factors. A hypercubist still life is a structural, three-layered entity that simply depicts essences, in which the fragments of our reality serve only as a reminder of the third dimension of our reality.
In the still life, it is important to understand what this still life is. After this, one must understand the meaning and purpose of the still life, understand it structurally and concretely, and explore what its personal meaning and purpose is for oneself. This also leads to insights that help us build new ways of acting and thinking.
- Change in action or thinking in relation to the framework:
When events, issues, or problems are examined consistently and thoroughly, it is much easier to change the actions or thoughts associated with them. Examining the situation from many different perspectives helps to understand the situation and the factors involved in it. During the conscious examination of the situation, one may also gain insights into things that one has not previously seen or understood. The information produced by the situation is only a small part of the information contained in the whole through its structures, meanings, and purposes.
As this study is based on examining the arrangement in question, but also on implementing it as a hypercubist study, it is necessary to consider what this means in practice and what hypercubism is in general. Hypercubism describes the layered interaction of the third, fourth, and fifth dimensions, both conceptually and physically. A hypercubist work is a mental process and journey for both its creator and viewer. Hypercubism is more of an intellectual cross-section of the subject with its essence and forms than a superficial view. For this reason, a hypercubist work is superficially simple but structurally impressive and multidimensional.
When considering what needs to be changed in order to create such a study, one must reflect on one’s personal ways of working and thinking about painting. One must abandon the two-dimensional surface and move on to solutions that support three-dimensionality. The layered nature of hypercubism in works is concretely multidimensional, in addition to its visually realized multi-angle nature.
Instead of a two-dimensional surface, this study uses the bottom of an old drawing cabinet shelf as a base, onto which pieces of Finnfoam bases that were used as old winter insulation in a pizzeria are glued in layers.
The base serves as a structural symbol of the fifth dimension, the next layer represents the fourth dimension of mind and thought, the base for information, and the top layer represents the form and concreteness of the third dimension.
In this way, we move from two-dimensional painting to the construction of a three-dimensional pictorial work with all its elements.
The change in the problem:
The change is simple. The two-dimensional, restrictive surface begins to move in and out. This is the coordinate of the fourth dimension of mind and thought. The work is constructed one dimension at a time from a two-dimensional surface, where the two-dimensional surface represents the fifth dimension and the superimposed surface represents the third dimension of information and interaction.
The still life, which depicts a table with fruit and a bowl on a tablecloth, also represents these dimensions. The table, the structure of consciousness, supports the cloth, the fruit, and the bowl. The cloth, a two-dimensional surface and plane, is the plane of the mind and thought, on which three-dimensional objects are placed. The fruit and the bowl are geometric objects of this third dimension of information and interaction.
The change is both conceptual and concrete. On the level of thought, old ideas, theories, and views about what art painting or creativity in general should be are abandoned. Concretely, a work corresponding to the theory and vision is constructed, which is not limited to any previous way of thinking or acting.
Since the story of hypercubism is just beginning, we can ask:
How can hypercubism be perfectly expressed? What is the perfect form or perfect essence?
The fourth dimension, mind and thought:
When constructing a hypercubist study, we need both ideas and imagination. Whereas in the third dimension we can verify concrete, rule-based structures, we need our minds and thoughts to break them down and rebuild them. A hypercubist study is the result of a thought process that takes into account not only the regularity of the third dimension, but also the interacting dimensions and the things and factors that appear in them.
In a hypercubist study, the entities and forms manifested in the composition are transformed into simple forms that correspond to the idea and express the contours of these entities and forms. They are quick, thought-like nuances and deliberate strokes that create a light and structural view of the subject. This illustrates the way the mind and thought construct outlines for things and define frameworks. The layers lying on top of each other and the lights and shadows created between them reflect the dark corners of the mind and hidden thought structures. No matter how much we understand, we can never see everything.
As in the arrangement under study, the mind is a space or level from which our understanding of three-dimensional reality is constructed outward.
- Understanding:
When examining the still life, it is important to understand it as a physical and observable structure, but also to understand hypercubism and its principles. The still life must also be understood as a conceptual idea, what its purpose is and what it is used for.
A still life is a composition of various objects that can be used as a model in painting. This still life is also a composition of structural elements and factors. In this case, these structures are represented by the fruit, the bowl, the cloth, and the table.
Although we only see the surface, these structures contain more than that. The table has meaning and purpose as an object, as do the apple, banana, cloth, and bowl. These are not just meaningless elements in the still life, but they all have their own purposes as separate objects.
In addition to this meaning, these objects also differ in their physical properties, but they also have different histories. The apple grew on a tree, and the tree grew from the ground. The bowl is made of glass, which is made from sand. Both of these were once just dust on the ground, after which they found their way into the same still life through different processes.
Our reality is not as fragmented and complex as it may seem. As humans, we are like that apple, being born, spending our time on this branch of life until we fall and decay. We too leave our seeds to grow, from which we continue this cycle of life, this circle, this circular journey. We share the same atoms as our ancestors, our bodies share the same elements as they did. As humans, we are no more separate from this whole than anything else.
When we look at a hypercubist work, we see ourselves, our own structures, and our way of thinking. It is very possible that when life leaves us, we will decay and grow into a tree, be molded into a table, or become a bowl of sand. We will break down into small particles and be rebuilt into something new.
- Acceptance:
When we examine the still life, we accept the existence of these structures and regularities. We accept the forms and essence, as well as the restrictions imposed by the rules, concerning the things and elements that affect the still life. Light behaves according to geometric rules, as does the arrangement of things and elements on a plane. We cannot shape these elements ourselves in the arrangement, but must do so through the processes of the mind and thought.
Acceptance is also related to ways of doing and thinking. We must accept the laws of nature, but we can also build everything anew with our imagination, while respecting the structures of our reality. We also accept uncertainty, the need for research, and the repetitiveness of works. We accept that we must depict the same arrangement and the same subject over and over again in order to discover the true essence and form of things and factors and, through this, to discover the truth. Hypercubism is just a tool we use to reveal the beauty of logic instead of superficial expression, a cut where things and factors settle evenly into a multi-angle three-dimensional structure.
We accept the properties of the material and their purpose; we only dismantle and rebuild them. We accept and respect our reality; we only bring it out more beautifully. We rebuild everything, both our thinking and our image of our visible structural reality.
The form of acceptance gives us the freedom to realize our visions without vague longing for the past. Two-dimensionality, ideas of what should be, and new structural and ideal approaches have settled into place. We accept this.
- Letting go:
Once we understand and accept the new way of seeing, thinking, and realizing our structural three-dimensional views, we can also let go of our old ways of thinking.
The two-dimensional surface is history, and it no longer resonates with the new way of thinking or acting. Nor are previous ideas about describing our reality true anymore. Our reality is not just a single-point surface or space, but a structural multidimensional experience. If we were to strip away the visible and see the equations behind it, we would experience patterns and contours, sharp angles and smooth surfaces. Our reality is just an illusion, a perception created by light and shadow behind the actual structures. In light or darkness, the structures still exist and have always existed and will continue to exist. Structures are the foundation of everything, so we must give up worshipping the superficial image and set out to describe reality as it truly is, not as it appears. Without structure, there is no surface.
We must give up empty criticism, this crossfire of inconsistency, and set ourselves on a strong foundation of purpose, meaning, and consistency. We must construct reality according to its true characteristics with our intelligent thinking and abandon the primitive worship of beauty. The surface, both in people and objects, is worthless if the structures are not in order.
We reject and abandon superficial realism and return to consistency and true beauty, to structures and regularity. To the place where our reality truly takes shape.
The fifth dimension, consciousness:
Our reality is built on the foundation of consciousness, as are our intelligent ways of thinking. Consciousness creates the contours of our reality, our thinking, and the framework of our reality. Consciousness has already constructed reality; we only confirm our existing reality with scientific discoveries. In the same way, we discover and are able to articulate different ways of thinking and acting. Everything exists from all perspectives and angles, even if we as individuals do not see it that way. Hypercubism has always existed; now it has been given a name and its true meaning. Hypercubism has been discovered in the structures of our reality, in the hints of our thoughts, and in the silent speech of our consciousness. Signs, patterns, and narratives have confirmed a new way of seeing and experiencing, but also of consciously examining the structures of our reality. We see things only as they are. From everywhere and everywhere, simultaneously.
In the same way that the reality we verify through hypercubism is built on the foundation of consciousness. In the same way that our reality is built on the basis of our personal thinking. We create structures and reality in the same way that consciousness creates our own. Someone made us in their own image, so we are told.
We choose creation and a structural way of thinking; we choose to make everything better, clearer, and more truthful. We trust in consciousness and the wisdom it brings, in the structures and consistency of our reality. We choose intelligence.
- the Self:
Who am I, what am I?
Only a structure that is exactly the same as our reality. I see, live, think, and build myself in the same way as growing trees and ripening fruits, fulfilling their purpose. I am a structure, a geometric shape, measurable and analyzable, just like other existing forms. My mind is a mathematical construct, with which I interpret reality, break everything down and rebuild it. I am that tiny particle, a small part of the construct that crystallizes into our reality.
Hypercubism is just a term, and I have my name, yet we are products of consistency and regularity. We can scream, shout, or talk. Still, we are just structures, multidimensional units that are shaped by the interaction of information both around us and within us. Nothing changes, and nothing is permanent. Everything happens simultaneously in this moment, and everything can also be interpreted simultaneously. We settle, we are, we manifest.
How am I connected to hypercubism? I am hypercubism, as we all are. We are just animals that can talk, created in his image. We choose our destiny. We shape our reality, whether we want to see it or not. Our task is to find the truth beneath this visible surface, to break this programmed image, and to rebuild it truthfully. We must find the truth, about me and about you, about ourselves.
I am an interpreter, verifying views based on constructed consciousness. A light, quick observation of reality, research-like works, and an analytical approach, an understanding of form, nature, and truth. This is hypercubism.