EINSTELLUNGSRAUM e.V. Sylvia Schultes Morphologische Fragmente I

However in a condition that is not controlled by consciousness a chaotic structure appears to be transparent because it won't be analyzed then as a physical issue but it is recognized holistically as a pattern that creates an illusion of movement just as perspective as symbolic form can create illusion of space. Like viewing of a perspective image requires cultural conditioning of the viewer so would the condition of the viewer have to be included in the presentation of the 4th dimension accordingly to which trance could be con- sidered as a prerequisite to experience time as a dimension contained in a symbolic form.
For this possibility there are already examples in art: Bryan Gysin had his 1961 patented Dreamaschine - a paper cone with holes on a turntable rotating around

a lamp - which causes visual hallucinations by stroboscopy effects http://de.wikipedia.org/wiki/Dreamachine.

In his installation ãGiven: 1. The Waterfall, 2. The Illuminating GasÒ (1946-66) Duchamp used an imitated waterfall which produces flowing here as an illusion by projection of a pattern from a rotating cylinder onto the transparent image of a waterfall. The gas light in the hand of the female figure is the light source as precondition for the projection.

V. Image of the 4th dimension by means of swarms

(At this point it is necessary to say that in German 'crowds' of animals of various kinds are called 'Schwarm' = swarm, for example: VogelSCHWARM=flock of birds, FischSCHWARM=school of fish. Annotation by translator)

On the background of the theoretical thoughts I'd like - as a tangible example - to draw on a flock of birds or school of fish for the question of the projection of the 4th dimension. A 'Schwarm' consists of a number of beings that move freely in a medium (air/water). They can also be regarded as a body. Even though each element changes its position at any time a close coherence of all elements exists. There is also a common alignment of movement which freely may change the direction any time.
Relating here concretely to a 'Schwarm' I have in front of my eyes the flock as it is composed in autumn by gathering starlings for flying practise. In the air they create a moving amorphous cloud-like shape which seems to have various density when various views of body cross-sections of the birds are

However in a condition that is not controlled by consciousness a chaotic structure appears to be transparent because it won't be analyzed then as a physical issue but it is recognized holistically as a pattern that creates an illusion of movement just as perspective as symbolic form can create illusion of space. Like viewing of a perspective image requires cultural conditioning of the viewer so would the condition of the viewer have to be included in the presentation of the 4th dimension accordingly to which trance could be con- sidered as a prerequisite to experience time as a dimension contained in a symbolic form. For this possibility there are already examples in art: Bryan Gysin had his 1961 patented Dreamaschine - a paper cone with holes on a turntable rotating around a lamp - which causes visual hallucinations by stroboscopy effects http://de.wikipedia.org/wiki/Dreamachine. In his installation ãGiven: 1. The Waterfall, 2. The Illuminating GasÒ (1946-66) Duchamp used an imitated waterfall which produces flowing here as an illusion by projection of a pattern from a rotating cylinder onto the transparent image of a waterfall. The gas light in the hand of the female figure is the light source as precondition for the projection. V. Image of the 4th dimension by means of swarms (At this point it is necessary to say that in German 'crowds' of animals of various kinds are called 'Schwarm' = swarm, for example: VogelSCHWARM=flock of birds, FischSCHWARM=school of fish. Annotation by translator) On the background of the theoretical thoughts I'd like - as a tangible example - to draw on a flock of birds or school of fish for the question of the projection of the 4th dimension. A 'Schwarm' consists of a number of beings that move freely in a medium (air/water). They can also be regarded as a body. Even though each element changes its position at any time a close coherence of all elements exists. There is also a common alignment of movement which freely may change the direction any time. Relating here concretely to a 'Schwarm' I have in front of my eyes the flock as it is composed in autumn by gathering starlings for flying practise. In the air they create a moving amorphous cloud-like shape which seems to have various density when various views of body cross-sections of the birds are	turned towards the on-looker. When the birds show themselves with their largest expanse from above or below a flock of 500 animals appears dark and dense. When the same flock flies towards or away from its on-looker one sees all starlings with their cross-sections that have the smallest cross-sections so that the flock appears transparent. Each change of direction brings on an internal movement in the formation of such a flock which is associated with the reaction time of the individual animals. This overlaps the direction of the movement of the flock. The tilting of the axis of flight of each individual animal which occurs with slight delays leads to a wave-like movement passing through the whole flock. Depending on from which spot within the flock the impulse for movement originates the sum from the reaction impulses and the flown speed is slower or faster than the speed of the flock. The sum from the sequel of the impulse and the speed is slower than the speed of the flock if the change of direction comes from the head of the flock. The observed speed is higher than the flying speed of the flock if the change of direction continues through the flock from the back to the head. Thus we have the flock / Schwarm before us as a formation where locomotion and movement within overlaps whereby there is a further movement in locomotion, thus a double speed is presented. If one looks at the flock / Schwarm as an image then then time is contained as an image in it, therefore the 4th dimension is presented in the flock / Schwarm as an image. In movement the Scharm represents thus a spatialization of the dimension of time. With this we'd have an image in front of us where an aspect of morphology, of which I spoke earlier, becomes visible: A Schwarm could be regarded as a 4-dimensional spatial image in movement. In it spontaneously and in slow-motion processes are represented which have a graphic figure and therefore are the realization what a three-dimensional body represents as projection of the 4th dimension. Here in on hand a first approach to processes which normally elude view. This process could help us to understand what occurs in the EINSTELLUNGSRAUM in the sum of all shadows and overlapping of the projections of these three bodies of Sylvia Schultes, since we have to imagine that the wandering light spots on the walls, the ceiling and the floor do represent only 6 levels of the complete event. We possibly have here a very primitive representation of the 4th dimension as swarm by an installation which has the advantage to be accessible to the senses as well as the intellect.
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