MESH: Notes on 4D Systems in Art (1.1)

1. The Fourth Dimension in art can be thought of as a sector in which the material and immaterial intertwine, creating a generative woven form. The material elements stay constant, an expression of the finite, in the integrating fourth dimension. The immaterial can be expanded infinitely, as a derivative continuum, attached to the original material. This complex state for art in a 4D mesh-space is simultaneously existential and perceptual.

2. Time is an immaterial component in 4D art mesh-space. The concept of Time as the 4th Dimension for art is incorrect. This fallacy poses both technical and perceptual problems for the 4D artist and 4D art viewer. Most significantly for both artist and viewer, the misapprehension of Time in 4D art encourages the displacement and obscuration of art itself, during its creation and presentation phases. Time is a distraction for the 4D artist. The Time fallacy in 4D art affects the artist’s transmission of the material. The Time fallacy in 4D art affects the viewer’s reception of the material. Artistic transmission in 4D is technical. Viewer reception in 4D is perceptual. Time distorts the 4D art viewer’s field of vision.

3. The 4D art is still a thing, even if it is projected, reproduced, inferred and so on. The original remains intact, an object. The 4D object combines and integrates with its derivatives in the 4D mesh-space. There it can be thought of as itself and a new thing (simultaneously). To test the validity of 4D original art, one may touch it. “Feeling” in 4D art is prospective, and a proper 4D mesh-space presents the viewer and analyst ample opportunity to experience and interrogate an encounter with a 4D art original. Responses to original 4D art are derivative of the original, not the original itself. Each response is itself an original, though not necessarily original art. Comprehending “original” and the derivative response is essential to a correct understanding of 4D art in its presentation mode (in 4D mesh-space).