Visual & Media Studies Academic Journal
ISSN 2299-906X
JURI CZABANOWSKI
1. What does CYBEREMPATHY mean to me?
Bibliographic description to this article:
1. What does CYBEREMPATHY mean to me?/J.Czabanowski. CyberEmpathy: Visual Communication and New Media in Art, Science, Humanities, Design and Technology (Augmented Reality, Visual & Media Studies). ISSUE 6 /2013. Visual Poodle. ISSN 2299-906X. Kokazone.
Mode of access: Internet via World Wide Web. URL: http://www.cyberempathy.com/#!issue6article1/c1mvt
Definition(s) of CyberEmpathy (I, II, III, IV)
I . CYBEREMPATHY is the ABILITY AND POSSIBILITY REGISTRATED BY SOCIAL MEDIA of INFORMATION COMMUNICATION TECHNOLOGY(ICT) TO EXPRESS DEEP(EST) AND (MOST) ESSENTIAL HUMAN MOVES, DRIVES OF (COM)PASSION OR THRIVES OF ENGAGEMENT IN LIFE CAUSED BY AETHERNAL E-MOTION1 OR ELECTRO(NIC)-[MAGNETIC] MOVEMENT of LOADED IGNITION2 IN SPACE
II. CyberEmpathy is the Expression of Phenomenon of Global and Universal Zeitgeist (Time Spirit)
inner and outer Periodical System of Space (Zeitraum)
III. CyberEmpathy is spatial movement caused by electronic(-magnetic) load (charge) expressed as emotional engagement to share WITH OTHERS by communication-cooperation-coordination using TECHNIQUES of all kind to COMMUNICATE INTO AETHER (unlimited (Cyber)Space, virtual like Global Networks www) like Information-Communication-Technology (ICT) to be interlinked in common virtual cyber (‘TOGAETHERNESS’*: global and universal interconnection of messages in medium Aether3) with final GOAL to attach sensitive INTER-ACTION or integral ‘CO-EXISTENTIALISM’ with All our SURROUNDINGS (‘ENVIRONMENT-ALL’ or Universal Mind*).
IV. CyberEmpathy as compassion of virtues, a harmonious balanced inner-outer Existence, like open Third Eye of Enlightenment representing the holistic cosmic Eye or Integral Observer!
(*’Environment-All’ of Cosmos or Universal Mind: total visible and virtual space or Infinity)
CYBEREMPATHY:
INTERACTION & -CONNECTION BETWEEN CREATION-MANKIND-TECHNIQUE-SPACE
1 E-Motion is Electric or Electronic Movement by impulse of charged particles (atoms).
2 Prof. Andrzej Głowacki and Mag. Marika Wata use the Polish word Zapał (Ignition, Inflammation, Spirit, Engagement etc.).
3© Juri Czabanowski, Neologism Togaetherness is global interconnection of cybernetic messages in medium Aether the fifth essential element or quintessence, Nijmegen 2013.
4 Historian of Art Juri Czabanowski, Malevich neologism Suprematism seen as Ukrain/Russian answer Pure Art/ l’Art Pure of western artistic statement l’art pour pour l’art.
5 Kasimir Malewicz/Malevitsj (Kiev Ukraine 1878 -1935 Leningrad USSR) Both parents were Polish: Seweryn en Ludwika Malewicz.
6 Not really certain if Malevich first version is painted end 1915 just before exhibition of Suprematism in St. Petersburg, Russia.
7 S.M. Ivanitskiï, ‘Malevich in de Tretjakov Galerij’, Catalogue of Exhibition Malevich, 5-3-1989 - 29-5-1989 Stedelijk Museum Amsterdam, Amsterdam 1989, p. 40.
8 Followed College lectures of Middeleeuwse Kerkgeschiedenis (History of Church in Middle Ages) by lector Prof. dr. Martin Spiertz, Catholic University of Nijmegen, 1988.
9 Desiderius Erasmus van Rotterdam, Moriae Encomium, 1st edition 1511.
10 Werner Gitt, In the Beginning was Information, Bielefeld 1997 and Did God Use Evolution? Bielefeld 1993.
11 Prof.dr. Ellen van Woude, Oratio, Radboud University Nijmegen, 9th of October 2009. Oratio as book in Valkhof Pers.
12 Article Piotr Czerski, ‘My, dzieci sieci’, translated by Stijn Meurkens ‘Wij kinderen van het network’ in Dutch newspaper NRC-Next 2012.
13 Moses leaded the Jews as slaves after a long period out of Egypt. Culture here was one of polytheism.
14 Fritjof Capra wrote bestseller The Turning Point. He called alarm to the world that was destructive in many ways. Still we can learn because we still behave like fools wasting and exploiting our environment and people.
15 Dmitri Mendeleev, Periodic System, 92 Elements on Planet Earth, 1869.
16 Fascination of Chemistry, BBC-serie 2010, seen on Arte TV 25th of July 2013, 21.50-22.40.
© Juri Czabanowski, What means CYBEREMPATHY to me? Nijmegen 2013
Abstract:
Definition Cyber
Cyber is related to or characteristic of the culture of computers, information technology
(ICT), and virtual reality: ‘the cyber age’; abbreviation of cybernetics (1980)
Definition Empathy
Empathy is HUMAN EMOTION CAUSED BY REACTIONS OF LOADED MOVEMENTS OF
(MICRO-)ELECTRONICAL SIGNALS IN HUMAN NERVOUS SYSTEM
Juri Czabanowski
1. What means CYBEREMPATHY to me?
Juri Czabanowski
Ph. D. Juri Czabanowski (1961) is historian art-/architecture, writer, teacher and researcher, Ph.D.-thesis Human-Ecologically Minded Housing, TU/e 2006, office Urchitecton since 2007
©Juri Czabanowski, Sustainability as human process of metamorphosis, Nijmegen 2012;
If copy model(s) or text, please use copyright writer!
Fig. 1: Model of CyberEmpathy as holistic cosmic Eye(catcher) or Integral ObserverThird Eye of Enlightenment: opening Compassion of Co-existenceCopyright Juri Czabanowski, Model CyberEmpathy, Nijmegen 2013
CyberEmpathy in Art and SustainAbility
Explanation of Essence of (I) MASTERPIECES of ART by CyberEmpathy
(I) CyberEmpathy as human expression in MASTERPIECES of Art
1.Black Square 2.The Holy trinity 3. The Scream in reference to a Self-portrait and a Composition
Ill.1: 1. Black Square, first version, 2.The Holy trinity, 141 x 113 cm. 3. The Scream, third version,
79,5 x 79,5 cm 79 x 59 cm.
Impression of Triptych of three masterpieces of art in their measured size by proportional comparison of their images.
Essence of Art by CyberEmpathy - Attempt of a personal rational and emphatic explanation
Ill.2: Kazimir Malevich, Black Square on white frame, 79,5x79,5 cm. , 1915 (first version),Tretyakov Gallery Moscow
The Black Square: Pure Art4
Suprematism is an attempt to express universal art, spatial art, a worldview out of space with a synergetic divergent and tunnel perspective: from the Universe to our planet Earth! Suprematism could be seen as Malevich’s answer to artistic statement of l’ art pour l’ art as l’ Art Pure/Pure Art.
Interesting nearly hundred years ago, 1915, Kazimir Malevich5 painted his first attempt to express infinity by his Black Square (on white)! An ultramodern and extreme vision of an icon in orthodox tradition: if you can’t paint the image and presence of God or the Universe as the Holism you can show the Absence of the Absolute, the Unmoved Mover by Plato; Impossible to paint the Holiness or Holism like a Holy Spirit (“Ghost”) of someone like the meaning of the icon concerns.
An exact observation of the original painting of Malevich ‘Black Square’ on white frame(1915-version6) reflects not an exact geometrical square but hand-painted irregular square. Now it isn’t one black surface but an impression of (inter)woven structures, celestial cosmic networks in structure of sponge (see ill. 2b). They appeared after a while, a phenomenon called crackles.
In this case the experience informs the painting wasn’t still finished. In-form(ation)s: time as factor of essential progress of maturation helped to painter in his artistic process! Malevich action to reform art and the meaning of art needed more time. His spontaneous and revolutionary act(ion) to over-cover an existing painting equally with black paint should have a chemical process of reaction by action: progressive new ideas of total and extreme renewal contra the existing rules of academic art became an aggressive fight on the surface itself. Old hidden existence react on the new black skin as a killing act of choking. The underlaying painting took protest for being conserved, hidden by a modern black jacket of leather. The price of neglecting: the black Paint Square soon lost it adhesion on the surface. It didn’t make contact with the canvas, the natural field or frame as pure layer to retrieve the black paint. The go-between of the original painting became the quarrel of a duel of fighting systems, the traditional old against the progressive new.
This information makes this extra-ordinary painting even more exiting and outstanding. It shows itself the nerves of a dying artificial system Monarchism on the background and the scars of the revolution of Modernism, the fight of systems that caused the beginning of the First World War. This first version of the Black Square on a white frame/field became history, art and history of art. It tells the story of The Portrait of Dorian Grey by Oscar Wilde, the man who painted his self-portrait as an act of being forever young, a devilish pact. He never would look older than his portrait neglecting the natural expiration: a most familiar phenomenon in our society of glamour. Oscar Wilde wrote a most exciting novel: please read it!!!
Ill.2.a Cover of novel by Oscar Wilde 1890 Ill. 2: Malevich, Black Square on white frame, 1st version, 1915
Absolute Pure Art: Suprematism as Purism
A process of interaction with time and with space, cyberspace in time, evolved the really meaning of one of the most extreme icons of modernism: the ‘Black Square’ (1915 version) or the Presence of the Universe by the absolute absence of all, the Big Nothing, unknown ‘Emptiness’, the Invisible Greatness of the Universe. In process of progress it shows even more obvious the real meaning of the (re)discovered Zeitgeist. The Time Spirit is (re)present today in the (re)presentation of the painting in today’s condition. Cyberspace in Time uncovered the hidden covered past: the truth is showing it’s real face as surface. In article-writer’s opinion the Black Square on white field reflects Malevich’ emotional reaction of the cruelty of the first World War. A breaking Point in History of Mankind, a turning point in the Evolution of human mankind: a worldwide revolution, a protest against unequal human conditions and old fashioned manners. Malevich expression of his nausea about this outstanding event.
S.M. Ivanitskiï wrote a contribution ‘Malevich in de Tretyakov Galerij’ in the catalogue of exhibition Malevich at the Stedelijk Museum Amsterdam in 1988 at page 40:“The art of painting isn’t anymore the goal but the medium to create new artistic reality. It reminds at to word of the Russian literature of these days “in itself enclosed” , which stood for the experiment and search for new possibilities. The elementary most simplification in this famous painting has to be seen as the base of the complicated: by giving the meaning of the absolute , prime base of form and color to a square and black on white field, create the opportunity for Malevich a new concept of artistic space in his composition. The measurements of the white and the black are as great that the white field of the canvas could be seen as space, not in the sense of heaven or depth, but as infinite global space. As artist of the 20th Century Malevich worked with cosmic categories. Denying of emotions, strictly mathematical measurements, pure logic of relations and rational organization of ‘basic elements’ without the ballast of reality are the pillars of his suprematistic compositions with the breath of our rational age.”7
Contemporary technology and knowledge of Cosmology offers an amazing comparison to discover our cosmic Universe: a colored field/frame of the Cosmos (ill.2d).
The ultimate way to express a view of the creating cosmic power of ‘Suprematism’ is to show the eternal emptiness of infinity without borders and directions, even perspectives are missing as orientation in the Black Space. To enlarge the impact of the Universe or universal Unity Malevich show a limited black ‘Square’ in a white frame. This impression makes clear there is more. This ‘square’ is only a slight idea of the bigger entity. With our limited knowledge of the existence of Black Holes Malevich Black Square express a spread out space that sucks all Energy, all Color; an multi-dimensional structure symbolized as a square black box of an incredible secret, like a spirit of a holy icon, hidden without measurements covering a potential of implosion. An impression of inner expression.
Ill. 2c: Malevich, Black Square without frameBlack Box of Universal Space
Ill. 2d: Photo: Crab-Mist after Supernova (Explosion of stars)
Discovery of Universe: opening the black box of Universe
Malevich Suprematism broke with all convention in art, like Russian Revolution of 1917 broke with social convention. The ideology of the community isn’t realized but destroyed by greed and power The wishful thinking of the constructible (by Constructivism) or suprematistic (by Suprematism) social worldview failed by superstitious behavior of the Party-members and Lenin’s lust for power.
The painting Black Square on white frame applies as one of the Icons of Modernism, the artistic of Second Industrial Revolution. Malevich was an exponent of the First Agricultural Revolution (citizens in city in impressionistic style, working class on fields in cubic-futuristic style) earlier. Till now his Black Square express an idea of extreme modernism, a turning point in art. Not an end, but a beginning of artistic statement. Abstract Art and Abstract Expressionism as a Renaissance of purification.
Purification as Catharsis
Original Written Word
Humanist Desiderius Erasmus Rotterdamus became a critical theologian to return to the most original texts of the holy Bible, the Hebrew text of Torah and Greek texts of St. Paul’s letters to Corinth. Since the first followers of the rabbi of a new faith called Jesus of Nazareth, later as son of God and Messiah known as Jesus Christ a lot of time was passed. Erasmus doubt about the originality of the text of holy bible because of the endless copying by less authorized and educated persons familiar with different languages, theological and philosophical texts. Erasmus wanted to purify the Bible by studying the most original texts in the original language without translation. He studied Greek and Hebrew to control existing texts of the Holy Book.8 In his book Moriae Encomium (Lof der Zotheid) Erasmus was spotting with the decadence of the catholic church and priests who couldn’t nearly speak Latin in Dutch called ‘jars-Latin’.9 Erasmus had criticized the Christian Church from inside, he didn’t want to leave the mother church of Rome.
Spoken Word as Beginning
‘Absolution’ like the Reformation of Maarten Luther’s statement to return to the Word as the Beginning as reaction of catholic forgiveness. In stead of the Christian (later Roman Catholic) Archbishop of Rome or Pope St. Peter as the oldest illiterate disciple with the symbol of the key to open heavenly porch St. Paul, the man of the word (letters) with the symbol of the Holy Bible become the most important spiritual leader of protestant movement. The Word, the Book, the Bible: all manifestations of information: written knowledge. Writer Werner Gitt get to the point using book titles like In the Beginning was Information10 . the speeches of Jesus Christ. Before in Jewish and Christian faith God divided what already was to create order in existing cosmic disorder (chaos). God should be seen as Order less as Creator. Prof. dr. Ellen van Wolde, professor of Exegese of Old Testament quoted in her inaugural speech ‘Terug naar het begin. Waarom Genesis 1.1 niet gaat over Gods schepping van de hemel en aarde’ the original text of Genesis. There Hebrew word ‘bara’ means divide, not create!11 There was already a lot before God made a order: water and water creatures. It implicates that there is a time before the Ordening, in science the Theory of Big Bang and the Chaos Theory.
Gutenburg’s discovery of the book press at Nürnburg would make this and other knowledge accessibility to more civilians. The privilege of the spiritual and worldly elite was broken.
Icon of The Holy Trinity
Compare it with the sublime icon of Andrei Rublev of the Holy Trinity, the holiness of the unity of the hole divided in three equal parts. Extremely important is the division of proportion inside the hole composition. It is divided in proportions and geometrical forms, the ‘divina proportione’ or the Golden ratio. Rublev just as Malevich hid a lot of science of ancient and middle aged science. Rublev’s composition is a masterpiece of hidden Geometry as divine science of the Creator of the Holy Universe. The Icon is a composition of symbolize references of ‘natural’ figures composed by under-covered exactly positioned geometrical lines and figures, hidden for outstanding observers, known by the Insiders, the spiritual and intellectual elite.
This icon needed disguised symbolism because of the Presence of the most holy of the holy believe, the Holy Icon (portrait) of the Lord himself presented as God the lord, God the Son and God the Holy Spirit, represented as three spiritual angels. They are in a silent moment considering to bring the new holy message, the new testament, to Earth by sending One part of the holy trinity to Earth. A message by a holy messenger, an angel, in person of the Son of God Jesus Christ.
Christ became a human being, an outstanding example to learn to be a worthy individual by regarding respect, loving your next as yourself, being as becoming a follower, a Christian. Regarding the holy message as divine intervention Christ’s life was mortal like ordinary man. Human identification with Christ as excellent example of one of them enlarged the desire to become a follower. Evangelists wrote the heavenly message down in four gospels with some texts together known as the New Testament of the Holy Bible. It is and describes the new covenant of God with people. Rublev painted a passage of the Bible (Genesis book 18: Hospitality of Abram; the strange visitors carry a walking stick as symbol of walkers, as symbol of undercovered ‘Pilgrims’; they come to bring the message Sara giving birth to a child as elderly parent; this visitation of three angels (archangels Michael, Gabriel and Raphael?) announces in advance as omen to archangel Gabriel who visit Maria, called Annunciation, bringing the joyful message of the birth of Jesus) as an image without human intervention. This old testament scene told in the Book Genesis previewed the Annunciation and Visitation of the Birth of the Messiah Jesus by Virgin Maria.
Rublev as spiritual monk had knowledge of disguised symbolism hidden by Mystics. He had chosen to emphasize the biblical moment of this silent holy conversation of holy trinity, a heavenly scene, as symbolic transmission on earth showing the tree of Mamre (now Hebron, oak still exists: see ill. 4c) where Abram and Sara lived. This painted tree (roots in earth and leaves in air (heaven)) is the substitute of the covenant, the linking medium between God the Father who send one part of holy trinity as his Son to mankind. The holy Spirit interacts as ‘mental’ medium, ether, between Christ and his Father.
In present time the Holy Spirit is transformed in social media like i-phones who interlink people: togaetherness by aether as former fifth element or quintessence. It explains the importance of the contemporary essence of this social element by using cyberspace. ICT-workers to help at desk are called Media-Evangelists, Google is the contemporary Gospel, internet a new religion of faith in ICT and other technology like 3D-Machines. Poet and writer Piotr Czerski calls new generation Web-kids in his manifest My, dzieci sieci’ (‘We, children of network’).12
Cosmic order as composition
Rublev doesn’t represent God himself (an icon of God is after all impossible in Christian religion). God is represented in the hidden Divine Plan of geometry. In this icon-composition God is represented by three androgynous angels as the version of the holy trinity by the unity of God the Father, God the Son and God the holy Spirit. Like the Universe is the Holiness of Wholeness of Holism the triangle of the trinity encloses a hidden circle as symbol of geometrical perfection. The words of the prayer of our Father in Heaven “In the name of…” are translated and transformed in this icon as “in the representation of…” The proportial division of scaled form(at)s, bringing limit(ation)s into endless size: divina proportione of shapes by harmonious order of holons or atoms. Cosmic order and balance reflects well-proportioned harmony (see ill. 3 and 4, 4 a).
Ill. 3: Andrei Rublev, icon of The Holy Trinity, about 1410, now Tretjakov Gallery Moscowicon of the Holy Trinity in order of Monastery of Holy Trinity
At left the Father, symbol of truth, Universal. In the middle the Son as path to reach the Father (truth) and at the right the Holy Spirit, the faith, the mental believe to reach the truth. The unity of the trinity stimulates happiness, the consciousness of harmony of all existence. We are only able to live in happiness if we live in harmony, in balanced co-existence with ourselves, our neighbors and natural and build environment. The tree is symbol of convent, inter- and correlation between past and future, earth and heaven. The development of agriculture in later Middle Ages the first worldwide (R)Evolution.
ill.4: icon as prayer: silence –in heaven spoken / holiness (angel: winged person)
‘God’ the fatherTruth
Divina Conversazione*
(heavenly angeltalk) with gestures placed on floating thrones
*Sacra Conversazione(Talk on Earth betweenSaints and Virgin Mary)
‘Holy Spirit’
Faith
in circle
timeless
(eternity)
in heaven
*©Juri Czabanowski, definition Divina Conversazione (Celestial Talk): conversation between celestial figures,
Nijmegen 2013
The importance of icon
An icon of the portrait is the spiritual presence of the portrait, a substitute of real physical presence of a person by an image, an icon, of this person. The complexity of not knowing how God looks like and the ban to make a version of God became a dispute during the existence of Christianity. Hardliners of the Orthodox teaching, the iconoclasts refused to picturing God. Christianity as monotheistic religion differentiated from other religion like the cult of adoration of images by pictures or sculptures of Gods. This adorations by became out of order, followers of several polytheistic religions offered and sacrificed on ritual places human beings, even children, in their believe to vote the gods conveniently in front of the supernatural image. The ban of Christian religion was a protection of offering people. One of the mean rules of Christianity regarded the love of people as creation, a spitting image of the Creator. The followers of the new by Christians had alternatives to show their admiration to God: substitute of offers by animals or natural gifts. During the development of Christian the need of ordinary and analphabetic people grow to have their own images like icons and symbols like crucifixes as reflection and recognition of their Christian identity.
The 3rd (Jewish and Orthodox) or 2nd (Catholic) commandment of the Decalogue given to Moses13 was to prevent false idolatery: Thou shall not make (carved/ graven) idols (of Gods) by yourself. Orthodox Christians developed tradition of pictures of holy person as sitter: the Icon, representation of the saint (again present, presence of spirit). The discussion between (high)priests and later theologians raised if a picture, icon or painting has to be seen as idol !
Scientists see this attitude as the result that in the beginning of Early Christianity no or nearly no images in any way exist. A group mention that Christian symbols and signs disappeared by destruction because of being hidden (in carves, catacombs etc.) and forbidden believers (religionin- development). Artists with Christian faith re-used already existing religious symbols and figures (saints) like Greek shepherd Orpheus and Roman God Apollo transformed in translated Jesus Christ with aureole or nimbus: the good shepherd. These ‘Early Christian’ artists had to imitate because the religion was new and in their tribal culture was nearly no tradition of artificial production of religious themes.
Early Christian art has to be seen merely as reproduction of existing religious or spiritual expressions.
Later risen schools like the Byzantine School of Icons. Copying of Bibles by handwriting.
Ill. 4a: icon The Holy Trinity 4b: detail of tree 4c: oak near Hebron (Mamre)
The similarity between the icon-tree and conserved oak astonished!
Two David Stars
CONCERNING the inner and outer framework of the icon two inner hexagrams appears (red one covers middle figure (Christ) with aura and blue inner hexagram centers the message of the celebration of the metamorphosis of gifted bread and wine symbolizing the sacrifice of Christ. Rublev used two perspectives for his composition: one of divergent lines which underline the spiritual atmosphere of an heavenly act (3 angels around altar) and beyond this the scientific or central linear perspective that exists on Earth.
A David Star composed out of two equilateral triangles symbolize the balanced connection between heaven and earth, spirit and materia, spiritual and material world.
Synchronicity: Continuum of ark Covenant
Rublev uses two three-frequencies at once: 1. the gesture of three angels as Holy Trinity in Heaven (message of new covenant); 2. their appearance as strangers visiting Abram and Sara at Mamre, announcing that Sara will be mother at an age of 50 years (Genesis book 18: Hospitality of Abram); 3. hidden message of sacrifice of Christ in symbol of Holy Grail full of blood (sacrifice by crucifix). He shows the interlinked continuity of Christianity, the red-blood line, by bringing some attributes as symbols together in one framed space at first sight. The nearly sacrifice of offering only child Isaac by patriarch Abram (announcement of Jesus offered by God the Father). Historical research will learn that Rublev used several podia as special space by several layers of perspective like in theatre. The central theme of holy trinity is situated in two frequencies of time and located in space: the preparation of divine intervention by heavenly creatures of holy trinity in time- and spaceless heaven and focused on book Genesis of the visit of three ‘visitors’ at home of Abram and Sara at place called Mamre in Sinai in time of Patriarch Abram at time of high-culture of Sumerians and destroying of their city Ur. Ur is Sumerian word for city at Mesopotamia (land between two rivers); Ur is archetype of concentrated human civilization. ‘Urban’ and ‘Urbanization’ are derived terms with significance of early civilized forms of human living systems of organization.
Rublev formed the holy grail as geometrical pentagram, a figure that is magical by alchemists, with hidden powers and energy (see ill. 5).
Ill. 5: detail of Rublev’s icon Holy Trinity: the Holy Grail as hidden pentagram and gestures of Angels Holy Father and Holy Spirit
The scream by Edvard Munch
Following explanation of a personal interpretation of a famous painting is the opposite ofwhat CyberEmpathy as potential can do. Look intense at one of the masterpieces inhistory of art: Skrik by Edvard Munch. The word ‘Skrik’ is similar to the Dutch word‘schrik’ (English: afraid, fright). Expressionism of an blocked mentally sick artist. Thisicon express his nearly madness, expression of deep depression after losing his belovedsister and mother in short time. His inability of sharing emotions caused this ‘scream’ ofintense loneliness, not heard by anyone. The environment reflects exactly the innertrouble, the ominous despair in the psychedelic colors and curves.
A scream of inner emotions, feelings as reflection out of space, using space as forum, aplatform. The expression of an deep impression in symbolic and expressional style.
Ill.6: Edvard Munch, Skrik (the Scream), 79 x 59 cm. 1893, 3rd version, private collection Peter Olsen
Partly personal interpretation of The Scream
Despair without a sound (Scream of deaf-mute)- Threat- Deafening silence
The Symbolist and ‘Expressionist’ Munch (both at that period, even if Expressionism as artistic style begins with ‘Les Fauves’ under Matisse in Paris and ‘Die Brücke’ in Dresden in 1905) illustrated a person that wants to express his feelings, but it looks impossible for this human being. It was too overwhelming what he/she saw and heard, his/her senses are out of order, out of control. The balance of life disappeared, he/she holds his/her head like it is breaking. Incredible how many emotion this spectacle caused! In any case outstanding pain that can’t be shared with others. The loneliness feels incredible painful. The situation of the image arouses our pity like pictures of some of shattered people in war-situations nowadays. This icon of art shows a person in dismay as globally expressed recognition. The ears have to be protected by hands as if the ears are exploded or to avoid an incredible noise. No influence or more information can’t be shared with outdoor space by this suffering person. It is an personal emotion of existential despair. The other persons on the bridge at the painting are without extreme gestures, they are relaxed. What did he/she see or hear, what makes him/her so afraid? This completely different way of behavior, the contrast is in many ways extremely expressed like warm and cold colors, rectangular and extreme curved lines, silence and noise, inner violence and pain and nearly killed under pressure.
The observer of this scene is immediately shocked. The figure looks spooky like a living ghost floating on the bridge and the face reduced to a schedule. A strange mixture of empathy and aversion reflects this being whose genus is doubtful. There is a direct impulse to help by embrace and to avoid by the signals. What to do as human being, as unknown spectator of a happening with deep impact?
A deep impression has made this person nearly mad, nearly possible to hold on. A cry without noise, an inner cry that moves the surrounding as a stone dropped in water. This movement resonates by moving inner to outer rings, a vibration of waves in the air.
Fact is that painting as activity was one way of lingering deep depression of the artist. In Vienna Munch went to dr. Sigmund Freud for psycho-analytic consults. Munch restored less or more. Later he draw and painted themes of a joyful life with painful intermezzi of broken love-affair.
These three masterpieces of art show a composition which possesses a tendency to explore, their issues don’t fit in their framework (like narrow mindness). Only a cutout fragment of their real size is visible, a fractal of their discovered essence. The importance of their topics distinguished, feathering far beyond the scene. Their presence and deep impact representing the Universe effect and influence the hole environment.
The same experience concerns personal confrontation in the research of own limitation and concentration. How to express the research for balance of lost control between of inner- and outerspace, disorder and order?
Ill.6: Edvard Munch, Skrik (the Scream), 3rd version ill.7: Vincent van Gogh , Self-Portrait, 1890
The winding waves in Munch’s icon are similar to the portraits of Vincent van Gogh (ill.7), who suffered of delusions. He wrote about his attacks of delusion to his brother Theo. His maladjusted behavior was misunderstood by many not aware of his suffering. His complex character not been seen as a painter, an artist reaching for the purity in a world of keeping up appearances.
His ‘hidden’ inner-life is many times reflected in the troubled curves around him. Vibrated landscapes as if he observed his surrounding as a drunken person after delirium tremens or a poisoning. Both are possible knowing his constant lack of money and unhealthy lifestyle.
Van Gogh’s frenzy and impulsive passion, even compassion made the explosion of colorful painting possible: disarmed and rampantly behavior, disobedient to existing rules. Expressionism in art is to transfer the message of the deeply dynamics of a person or his motives. The impact of feelings are most deeply expressed in the movements called baroque, romanticism and expressionism. Expressed emotion is one of the mean themes. It ask and touch empathy of the betrayer! The curve or arabesque is a powerful form to express dynamic, uncontrolled, even uncontrollable movement. That’s the reason why rational artist avoid the curved line, it is a symbol of uncontrolled life. Van Gogh is a prototype of a romantic ‘expressionist’ (post-impressionist).
He changed the way of looking at art, a rebellion of reformation being one of the turning keys, a tipper to Modernism like Paul Cezanne, Paul Gauguin and Claude Toulouse Lautrec.
Artist Piet Mondriaan developed to an abstract painter by reducing his paintings as strictly compositions forms, an order of precisely balanced lines partly filled with limited colors. Pure l’ art pour l’ art, artifacts in abstraction. He avoided natural images, refused even the diagonal in his compositions because they disordered the possibility to reach perfect harmony. Denaturalization was an act of evolution in mankind, abstraction a way to express the new Order. A new worldview of neo-plasticism: only restricted geometrical figures and primary colors next to black and white and grey. Green was extremely forbidden as color of abundance and uncontrolled growth, impossible to pursuing balanced harmony. New Order of Modernism and New Objectivity strictly avoid any natural reference, shaping a manmade world, an acting mankind as strictly rulers in Universe with a pure artificial creation.
Ill. 7: Vincent van Gogh, Self portrait ill.8: Piet Mondriaan, Composition in red, blue, black, yellow and grey
Comparison of Art and Artist
At first sight the Self-portrait of Vincent van Gogh and the Composition of Piet Mondriaan don’t have any similarity. There is no gentlemen’s agreement between this two Dutch giants of international fame at first sight. Only if you got the key in this case the key of history of art and artist, otherwise you will divide this two masterpieces as completely other world and worldviews. If we look at the ‘self-portraits’ as the result of two men grown up in a world of strictly orders, in dogmas of Calvinists, we discover their fight to express themselves. The strictly division diminish considering they show their inner life to the outside world. Both express their basic worldview as a way of life. Both men had extremely problems with human relations, they lived a extremely restricted life, possessed to bring order in their disordered world. Searching for control references as connection to other natural life and growth are absent. Looking at the colors it is striking how warm colors like red and orange are nearly lacked and cool colors are excessive present. Van Gogh express his red-orange hair and position in a winding world moved by curves in which he nearly disappears. Van Gogh painted disharmony of his experienced surrounding and Mondriaan researched to find a new order of nearly perfect harmony created by himself, Mondriaan’s Universe. This ordered Composition is a mirror to his soul, in fact his Self-portrait. A look through his face, positioning his thoughts in his head as a reflection of his artistic process.
Summary
All paintings are witness of their lust for life and struggle to fit in their existing society. Making compositions to uncover their position like Rublev, Malevich and Munch. Not only for Munch was painting a healing therapy. The same recipe of expression of painting helped Andrei Rublev and Kazimir Malevich. Rublev faced a long period of depression. Malevich told that the Black Square was a reflection of the dark emptiness he felt once inside. A way of recovering inner and mental balance can be healed by being active like being creative as painters. Action and reaction to solve the causes of the problems. Reaching the painful point of a disordered function: unbutton the Gordian knot by chopping!
II: Explanation of Essence of CyberEmpathy in SustainAbilityThe Third Green Revolution by Information (Cyber-)Communication-Technology (ICT)
Our survival is related to the way we will learn the use ourselves as entire mankind and our built and natural environment with more respect. Taking care for each other and life in general, sharing our planet and its space. Learning abilities and possibilities to live in co-existence with all life-supporting systems. Their natural biorhythm shows the inter-links of evolved cooperation like eco-cycles on wide-spread areas on a long period. Some species need a great habitat to survive. National parks and integral connected natural biotopes are conditions to support wild-life in general. Continuation and preservation next to protection are terms to stimulate sustainable co-existence. In the Netherlands reintroduction of bigger wild animals like Beaver, Otter and White-tailed Eagle succeeded. The Wolf is spotted on the borderline of Germany, Belgium and the Netherlands. A Plan like Ecologische Hoofdstructuur (Ecological Head Structure, EHS) helped. Biodiversity and its preservation are keys to guarantee continuation of species on natural based interaction. People could become more stewards to protect Life on our bio-diverse planet as a result of natural evolution. Climate change will make new fittings of life in general necessary. This big challenge is a chance to show our empathy to humans, species and our planet as mega-organism. To co-exist on Earth with help of intelligent technique, smart machines in (cyber)space next to using our individual and common sense(s) and surviving and inherited wisdom.
Fit-test: fittest
The fittest strugglers will survive! One of the key-result of Charles Darwin’s research of life called Evolution. He found the key of life in a developing process, in progress. An everlasting process of fitting between life and its environment. Being, otherwise getting, fit is the best way to survive. To fit in Darwin’s theory means to customize. In our hectic life with supersonic speed and constant changes it is as much needed to have an out-standing condition to survive: fitness! An updated Darwin’s quotation should be: Survival of the Fittest by fitness: how to manage stress and order. Our lifestyles in nearly all civilizations worldwide are constantly proved by changes. In evolution it means we need to fit and be fit, more than ever before to this accelerated development.
A Metamorphosis in total Reform(ation) by incredible many steps of transitions, trans-formations of life-supporting systems are necessary to survive in a New World Order-in-Progress. A phase of transition to a sustainable society called SustainAble Project Activity (SAPA) (instead of New Objectivity in last Century) or New Necessity and a durable lifestyle called CO-Existentialism with Sustainers instead of (big) Containers.
Interesting fact is German translation I call ‘Neue Not-Wendigkeit’ (anstatt Neue Sachlichkeit 1925). Translated it means we need a new necessary Turn (‘Wende’)14 which fits good (‘Wendig-keit’) now. We have to learn to be more flexible (‘wendig’) in times of emergence (‘Not’). More than in last Century the new objectivity was needed, we need ways to interact globally, making brilliant connections like evolution made in eco-cycling systems. We have to stop stupid energy-dumping projects, but stimulate active projects for Sustainability (SustainAble ProjectActivity).
Limit everlasting ‘new’!
Not necessary ‘new’ but different and better (sustainable) is needed to save the world in a proper way for next generations. Architect Mies van der Rohe’s translation of Peter Behrens „weniger ist mehr“ into English. His ‘less is more!’ became famous. I want to put it into perspective: ‘less is more, more or less’ because only if you have enough to survive you will agree! Many quotes are made by people who don’t have the slightest idea what it means to have nearly nothing. People dying of hunger can’t bear less. I prefer slogan: ‘better is more’, because still we life in a stupid world of so called waste. Much money is made with principle of cradle to cradle (C2C) by clever businessmen. They got highly produced, high tech products for nearly nothing. Of course recycling and we-cycling are good intensions without doubt. Many waste is no waste at all, there is no waste if we will learn better to manage our lifestyle. Living in harmony with others, and our environment: Co-Existentialism. In stead of inhuman Capitalism we need a system of collective worldwide awareness, an ethical consciousness of an ‘Economy of Enough’ to reach the ‘Wealth and Health of Plenty’. This system of Capitalism has shown its face of vulture and greed. We live in a systemic crisis (Hekkert 2008). Many still are in recession, the crises are still keeping and going because some people even get more powerful and richer than ever before!!!
Innovation-renovation and self-support
Next to call for innovation like new bio-based materials, products and processes it is time for super-reuse by smart renovation and restore of existing build environment. New life and functions for vacant buildings. Movements like transition towns prepare to post-oil society by introducingnew sustainable development and (re)using traditional environmental life-methods which deal withlife-supporting ways of consume and produce. People will become part-time ‘prosumers’ (Prof.Rotmans 2012, Transition Erasmus University Rotterdam), producing consumers and consumingproducers being active to breed their food, making their own energy-needs; in other words beingself-supporting at all. Next to Sustainable Innovation (Moors 2013, Prof. of Geo Sciences, University ofUtrecht) sustainable renovation and restore has to be regarded (Czabanowski 2013).
Research of scientists will properly find new (in)stabile artificial elements as addition to the periodicsystem of 92 elements existing on our planet.15 Not knowing if there will be an alternative elementto solve our global ask of energy our knowledge to use with even quite more efficiency the immensepotential of solar energy would be a enterprise of worldwide common sense and essence.16
Summery
CyberEmpathy means a fantastic way to express what human beings moves, what they want toshare by all kinds of communications with others in an eternal space called cyber (vibration).Especially in our contemporary time of social media there is a Zeitgeist of loaded tension in the air,in the aether as 5th authentic element called quintessence (the 5th essence that connectsthe existing four classical elements earth, wind, water and fire known in Greek Antique) adesire to share in togaetherness with others. We as world-citizens or cosmopolitans got thepossibility and ability to communicate global and massively for the first time in mankind. We stillhave to learn to express ourselves in a proper way by using our five senses (and even more! Like Synesthesia for instance Wassily Kandinsky) in combination with an immense account of mediatechnology.Natural senses have to be developed next to artificial techniques. The naturalWorldview of Creation has to be confronted with the scientific Worldview and Technology andArtificial Artifacts to synthesize a natural-scientific Worldview of Evolution as universal Process-in-Progress. Once upon a time we will reach and use the synergy of the synthesis between aecological ‘technotope’ and technical biotope. We already live and work in a symbiotic societywhere disciplines and research are interlinked.
Once more a look at the model of CyberEmpathy as a resume. Perhaps now it makes evenmore sense. CO-Existentialism is a lifestyle and life-consideration to give sense in life to live in coexistenceas mankind with creation as an important essence. Togaetherness is stimulated byaether using social media possible by ICT. A new behavior of awareness to take care for people andenvironment as conscious cosmopolitans, open minded multi-cultural stewards supporting polyculturesand biodiversity. Mankind is more than ever forced to co-operate, is needed to beconnected as one world community: Our Common Connextion as our common future 2.0!
(Environment-All or Universal Open Mind: total virtual & visible space or Infinity)
CYBEREMPATHY:
INTERACTION & -CONNECTION BETWEEN CREATION-MANKIND-TECHNIQUE-SPACE
Fig.1: Model of CyberEmpathy as holistic cosmic Eye(catcher) or Integral ObserverThird Eye of Enlightenment: opening Compassion of Co-existenceCopyright Juri Czabanowski, Nijmegen 2013
Explanation model of CyberEmpathy
The complexity of our high-developed consciousness lifestyle called CO-Existentialism, will be unfolded in theAge of New Necessity of Emergence. This lifestyle provides the condition to survive in Co-Existence, thedynamic balance and (inter)action ( ) between Mankind and Environment.
Togaetherness as interaction between Technique and Space. Between mankind and technique, and space and creation exist interconnections( ).
CyberEmpathy is the integral result of interaction and interconnection between Man(kind), Technique (like Machine, ICT), Space and Creation. CyberEmpathy expands like CO-Existentialism by Togaetherness.
Final summery
What does CYBEREMPATHY mean to me?
CYBEREMPATHY means balanced inter-active compassion with Existence as Essence of Being,Restore of Balanced Co-existentialism by Co-operation as (re)active flow-forms in Meaning of Life!CyberEmpathy: Cyberspace as sponge of compaction and shrinkage and universal cosmic timeMicro- and Macrocosmos: Growth of cell and implosion and Explosion of UniverseInteraction between Inner and Outer Ring (circle) of Cell or Space
Ill.2: Kazimir Malevich, Black Square, 79,5x79,5 cm., Universal Observer1915 (first version), Tretjakov Gallery Moscow
ill.8: Juri Czabanowski, Black Hole of Global Eye or Point in Zero (0): The Begin or Expansion of the Inner Ring. Nijmegen 2013
Ill.9: Juri Czabanowski, Restored Balance of universal Energy by Taoism: proper EXCHANGE of Black Circle or Mirror of Expanding Space of Black Energy in Universe (and Mass; F=m a, E=mc2) Similar to Ancient ‘stem cell’ (before splitting by dividing/duplication /replication),And Discovery of Universe of Third Green (R)Evolution of CO-Existentialism, a growing Co-operation of integral Photosynthesis by Solar and alternative Energy supported by Cybernetic Enlightenment of Conscious Worldcitizens, Nijmegen 2013
Dr. Juri Czabanowski, Historian of Art and Architecture, founder of Urchitecton
Ph.D.-thesis about history of theory and practice of sustainable housing called Humaan-Ecologisch Georiënteerde Woningbouw, Architectuurhistorische studie (1945-2000), published as Bouwstenen 99, October 2006.
CyberEmpathy ISSUE 6/2013
 CyberEmpathy 9/2014Cyber Art: Piotr Zawojski, Sidey Myoo,Katarzyna Otulakowska, Beata Bigaj-Zwonek, Ika Wato, Juri Czabanowski, Andrzej Głowacki |
|---|
 CyberEmpathy 8/2014Augmented Reality Studies: Fotis Liarokapis, Piotr Zawojski, Elwira Wojtunik, Popesz Csaba Lang, Jarosław Kinal, Mariola Kinal |
 CyberEmpathy 7/2014Visual Strategies: Kseniya Bilychkevskaya, Ika Wato, Juri czabnowski, Elwira Wojtunik, Popesz Csaba Lang, Jan Głowacki, |
 CyberEmpathy 6/2013Code: Juri Czabanozwski, Iurii melnyk, Olha Kvasnytsia, Peter (Basil) Kaminsky, Grażyna Pietruszewska-Kobiela, Andrzej Głowacki |
 CyberEmpathy 5/2013Architecture for Human, Humanism for Architecture: Juri Czabanowski, Barbara Stec, Marika Wata, Katarzyna Kosiniak |
 CyberEmpathy 4/2013Visual Poodle. Contemporary Art in the Public Space: Marika Wata, Hans Peter Hahn, Ruth Loibl, Johann Schuerer, Christa Pawlofsky, Brigit Moller-Klimek, Beata Bigaj, Agata Kus, Michał Hyjek |
 CyberEmpathy 3/2013Soluble Fish in Insoluble Reality: Grazyna Pietruszewska-Kobiela, Andrzej Głowacki, Marika Wata, Piotr Głowacki |
 CyberEmpathy 2/2012Cybersky: Andrzej Głowacki, Piotr Zawojski, Josyp Los, Peter Schmid, Jan Głowacki, Berenika Kowalska, Jarosław Kinal, Katarzyna Krakowiak |
 CyberEmpathy 1/2012Cyber Fields Forever: Andrzej Głowacki, Marian Szewczyk, Piotr Głowacki, Bolesław Jaskuła, Krzysztof Pancerz, Andrzej Głowacki, Marcin Malec |
 CyberEmpathy SPECIAL EDITION 2/2011The Gilliam's Atlas: Jakub Woynarowski, Kuba Mikurda, Michał Oleszczyk, |
 CyberEmpathy SPECIAL EDITION 1/2011Sketches from Virtual Space: Agnieszka Szóstakowska |
There is so much more to check out :
