PHENOMENE ART IV : The Fourth Dimension, Phase 4. The Warrior’s Recapitulation Chapter 1 REVELATION p.2

1) Centurie I  Quatrain 2

La verge en main mise au milieu de BRANCHES

De l’onde il moulle & le limbe & le pied.

Vn peur & voix fremissent par les manches,

Splendeur diuine. Le diuin prés s’assied.

REVELATION p.2

This is my warrior's recapitulation of Phenomene Art IV: The Fourth Dimension. As I write this, I notice that there are so many people around the world, in all cultures, attempting to interpret spiritual teachings, scientific knowledge, ecological and political concerns in a way that would once and for all be definitive. This underlines a profound human concern with the invisible forces that shape our lives and that this concern resurfaces over and over in human history. It is imperative therefore to clarify a vital point: I am not describing any theism nor I am not defending any religious practice: I am retelling a story where intriguing synchronicities revealed how a hitherto mysterious force, that could be the very thing ancient people called God, or Gods, operates through extra-dimensions to interact with us, to create our strange inexplicable lives.

3) Centurie I Quatrain 56

Vous verrés tost & tard faire grand change

Horreurs extremes, & vindications,

Que si la lune conduicte par son ange

Le ciel s’approche des inclinations.

Here three paintings are grouped together to look at the phenomena from Michel de Notre-Dame's point of view. Notre-Dame saw that he had to address knowledge of a fourth dimension event to people who would live at a time when what he meant to say could be studied objectively, free of the extreme and senseless religious persecution of his time. Of course now, although we have science to verify events, there are still all manners of persecution.

In the first image 1), he explains in his quatrain that a mysterious presence urges him to investigate the visionary events manifesting in his study in the night when he is alone. This frightens him. He suggests that one of the methods he uses to see the future is scrying, interpreting the images made in water. Since cultures exist, the systems of beliefs that underly them cause humans to doubt their empirical experiences as opposed to what the scribes of these cultures have written as the truth. This ongoing pattern plagues all quest for knowledge and truth when it is taken too far.

2) Centurie II Quatrain 28

Le penultime du surnom du prophete

Prendra Diane pour son iour & repos:

Loing vaguera par frenetique teste,

Et deliurant vn grand peuple d’impos.    

In the second painting 2), he recounts his extraordinary effort to come to terms with the possible meaning of what he is looking at. His astronomical calculations can predict the time-space of the phantasmagorical sights of what will be but he will never witness these events with his body in real time, he must accept them without ever having confirmation of their validity. He is witnessing the veil of prophecy and its paradox of knowing something of events he cannot change. He names himself the prophet before the last as he lays the groundwork for his successor.

In the third painting 3), he sees a person capable of operating at the extra-dimensional level but it is at a time of extreme upheaval. From my perspective, he seems to be telling me that the times when I will experience extra-dimensions will be quite horrific. And they are at so many disturbing levels, as much from the multiplying images of children mutilated by acts of terrorism diffused on multimedia supports, as the absurdly egomaniacal proliferation of selfies.

To be continued...


-LENA GHIO