Aesthetics of Fields & world of Pure Forms

In his Metaphysics of Natural Science, Kant speaks of matter not as something original, but rather derived and subject to the laws of forces that correspond to those that move the expanded field of TS and other fields responsible for forming the matter of bodies that possess mass, occupy volume in space and are capable of interacting gravitationally.  This philosophical background in Kant's Metaphysics is linked to the Metaphysics of History, anticipating from this to the notion of field, where a dynamic articulation of structures between ST and history occurs. Therefore, the history of the universe lies behind the physical representation of an object. This is also reflected by the Art and Aesthetics of Expanded Complexity, now known as the Aesthetics of Fields, where TS and history are presented as the foundation of a universal of natural order that exists per se and is independent of the subject-object.                                                                  

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This first fundamental physical principle that links the ST with other fields in the formation of matter as a physical entity formulates an irrefutable preliminary truth on which the knowledge of the Aesthetics of Complexity is built as an Aesthetics of Fields meanwhile natural law rooted in observable physical facts that lie hidden in the origin of matter, which is everything that has mass, occupies a place in space, can manifest itself in a solid, liquid, gaseous and/or plasmatic state and with which one can interact and that once formed and organized gives entity to an object as a physical form existing in the ST, having a certain corporeality associated. This origin is found in all transcendent representations as they contain identity features of the object which in turn enclose the memories of the universe where the infinite ST coming from the black holes of water and the event horizon bring together in this field the ideas of the whole. This central postulate, supported by empirical data, is established as an a priori principle of the sensible and intelligible world of objects in the phase of transcendental cosmic potential representation to individual and recognizable physical representation as a universal, eternal and immutable natural law and explanation of all that exists in creation and in the world of pure forms. This is one of the main findings of this research which includes diverse periods, places, populations, and environmental factors united a broad spectrum of realities on a common universal stage for all creation.

The Art and Aesthetics of Expanded Complexity as Aesthetics of Fields thus postulates the existence of the creation of matter not as a new state of matter but rather its existence derives from the fundamental forces that, according to Kant, are gravitating over creation, without these being able to be seen because they are hidden under an invisible mantle that the art and aesthetics of expanded complexity have been able to observe, know and now record in a broader investigation of an exploratory, descriptive, diagnostic and experimental nature. This is a

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discovery that allows to expand and stage the assumptions about the modus operandi of the fundamental forces that gravitate in achieving the creation of matter, which takes us back to Kant's Metaphysics of Natural Science, developed in the Metaphysical Principles of Natural Science, where he establishes that natural science is based on synthetic a priori judgments that are universal and independent of the experience from which the perception of natural phenomena originates.

This large-scale universal process place us before a new reality that includes everything created, from works of art of complexity and human thought as to the aesthetic expressions of other species that inhabit the universe and can leave their records in the form of images, choreographies or expressions yet to be cataloged. These reveal the existence of states of consciousness, forms of communication and advanced expressions through their various languages, already identified, such as Euclidean and fractal geometric languages, along with physiomorphism and semiological language.

The ST, conceived as a space of fundamental forces that interact with each other, shaping matter, would be responsible for molding the matter of the universe without physical contact or consciousness, depending its embodiment of the presence of a field in the region of space surrounding a given body, since a mass that is within the Earth's gravitational field perceives this force and transforms under its direct action without any other type of human mediation or intervention. This relevant fact has been confirmed by the Art of Expanded Complexity as Field Aesthetics in the records of the creation of the matter of the universe in observational, exploratory and diagnostic field research in the Mediterranean Sea, in an object found originates from a mulberry tree, in experimental work with non-human evolved terrestrial gastropods, and in music; all of them created from the ST, which is accessed from the virtual event horizon of the unified field. Adding to this is the experimental investigation of the ringing of a

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Tibetan bell, whose high-frecuency sound waves can reach the tissue of TS, from where they can return to their point of origin, after a  with something greater originating   somewhere in the universe, as well as the preliminary original research emerging from the art of complexity itself since the wave universe.                                                                                                                   

These results in the study propose a radical change in the way we think about art and aesthetics, representing a drastic shift in perspective on the problem of creation, from a new model where knowledge of the object does not start from what is given and known because this is neither given nor known to move beyond the thing to be known; focusing on its original relationship with the infinite, where the object is an a priori knowledge of something that is transcendent, in Kant's words. Thus, the new information that breaks patterns by   deconstructing models and changing the observer's perspective places us before a universe that must be rediscovered, grasped and conceptualized anew to understand that it is this universe that creates the new reality that is taking shape solidly according to its fundamental laws and forces.

All this wealth of knowledge observable in nature, in experimental work itself and in the species investigated, which includes vertebrates and invertebrates—as similar and superior in some aspects to the human species—can only have one origin: the unified field of the wave universe in the ST, in which each species can enter accelerated time fields that become expanded fields of that St, where they exercise specific evolutionary processes similar to the human species, as has been verified in the preceding examples from the perspective of knowledge by leaving the seal of their manifestations exposed.

A knowledge that opens the doors to creating a new reality for the human species and other species by introducing new patterns of thinking and ways of perceiving and understanding reality that lead to its transformation.

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The representations that capture an expanding universe thus take a step forward in the unification of knowledge about cosmic and artistic creation, allowing for further development of what would become cosmic and artistic aesthetic thought.

This research that addresses an infinitely given object whose foundations must be found in the organization itself of the cosmos and nature, now reaches a new milestone driven by advances based on detailed empirical evidence and establishing a new state of the Art of Expanded Complexity as Field Aesthetics.  from this point the rules of art change, leading us to new heights of development to create, conceive, and establish a new beginning as a tabula rasa upon which to project another future. The starting point is the notion of field that allows to recognize the potential as real, being the passage from one state to another, from its cosmic level to the individual physical level, being identifiable and recognizable; establishing a reference principle to describe the step movement in the ST that transforms one reality into another new, different and unique.

In modern physics, the notion of field is a category coordinated with the ST, becoming space-time-gravitational field; appearing here the other fundamental pillar of support, confirmation and verification of a new and original process arising from the fields that surround an object  in the elucidacion of a complex and masked process that by not being visible cannot be glimpsed neither its understanding achieved until now.

A conceptual triad that links a dynamic notion that is affected by the presence of matter and energy together with the curvature of the space-time continuum where this physical reality which can be perceived and encompasses both material objects and the forces and phenomena that  constitute and affect them, deforms objects, creating a curvature or ripple, allowing bodies to move in a straight line, allowing such objects with mass to move through curved space-time, following trajectories that are perceived to be influenced by gravity.

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 This curvature not only affects the way in which objects move but also affects their physicality by transporting energy and transforming a given mass into a different and new one, due to the disturbances or ripples that propagate in space-time and which in art are embodied in artistic expressions and designs without any human intervention, neither in its conception and nor in their development.

This can be clearly perceived from the various starting points of the creation of form, whether from the event horizon or black holes in water or directly from the ST based on the fields that surround an object.

     2.- Visual Display of Outcomes Trascendent  Pures Representations with   origin in the gravitational field of the Earth.                           

    3.- Data of Finding 1, Data of Finding 2 and Data of Finding 3                                          

                                                                                 (  Group of Images 2 & 3 : at the end of the Abstract. )

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 The impact of the images of these now historic paintings are a visual sample with their findings and results obtained after processing, analyzing and interpreting a set of significant data that emerge from fieldwork, helping to understand origins, patterns and key processes in an investigation in a clear and understandable way that support its results and conclusions, when its findings are compared with what was previously known, where what is sought is not to imitate nature since they are not idealized forms of it, but rather they are pure expressions of nature that have their foundation and whose discovery has been revealed as an unquestionable finding in this investigation, as the natural and matter gravitate in the universe of forms and their constituent fields; thus erecting the sensible and intelligible world as a universal law and explanation of the creation of the material universe, the cosmos and the perceptible world of pure forms with regard to the aesthetics of expanded complexity as an aesthetics of fields. These representations are not comparable to what is already known about 

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forms in art originated from nature, but rather are the foundation of a new object that establishes the scope of a field of study that arises first from Kant's a priori ideas and then from the breadth of experimentation, observation, and analysis revealed here, derived from the combination of knowledge from other disciplines. This allows us to understand, conceptualize and transform reality from a new perspective and from which it is possible to construct knowledge relevant to the advancement of the arts and aesthetics.

This new reality with its findings is what lies hidden in this visual display of results which contains one of the central arguments of this research, referred to the representations of such splendid figures that lead us to wonder how they could have been captured in these now-historic paintings on such dissimilar materials that reveal natural patterns about the origin of forms, where small-volume pigmented masses originate and become gravitational waves. trapping matter that falls or passes through its radius of action in a process in which a magnetic energy field is created, appearing a pulse in the ST that comes and goes, where there is a pattern to form the basis of the shapes from the plasma created by the magnetic fields, where the object - be it a stone or a piece of wood - attracts specific atoms in a particular place that will allow it to create a new state of representation, transforming the aforementioned object.

These research findings cannot be compared with what is already known about representations of nature that were conceived as being made by the mastery of the human hand. The forms that objects and their representations now take are therefore not executed by a person, highlighting the artistic excellence of the fundamental forces in their conception and execution; this adds new meaning to the representations which in turn contain the memories of the universe. What is evident in these examples of the transition from the cosmic level to the individual and specific physical level is that each of them has been in contact with a field in the region of their surrounding space, has perceived this force emanating from the field and has been transformed under its direct action- in some cases this field has emerged from the sea, in others from the earth ilself- revealing together similar surprising behaviors and final results.

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All of these sampling points of the universe are part of its universal laws and principles that shape everything that exists and which we are  just beginning to understand, once they have been discovered through observation and experimentation from an unexpected context: the art of expanded complexity as an aesthetics of fields; acquiring the status of a fundamental physical principle or basic proposition that serves to construct a body of knowledge that cannot be deduced from any other proposition that allows the development of a system of thought constitutive of the creation of pure forms in art and in the universe. This fundamental principle would be in itself a natural law rooted in observable physical facts such as been graphed, describing a specific and immutable relationship between the ST and the physical entities existing in the natural world.

The guiding idea is that this fundamental principle is based on physical facts that are behind of the forces that move the ST and the physical entities existing within it, reaching the status of an eternal and immutable natural law that governs everything that exists in creation.

Thus, a new theoretical context is developed for a priori knowledge of the object, sustained by universal basic processes that include all of creation and where its transcendence exceeds the previous ordinary context. Thus, an a priori principle of the sensible and intelligible world of objects is established in the phase of cosmic potential representation to individual physical transcendental representation and recognizable as a universal law and a rational explanation for the creation of the world of pure forms in a new scenario that includes the entire universe, matter, art, the aesthetics of nature and the sensible and intelligible world. This new milestone is achieved driven by empirical and experimental advances that consolidate the current state of the art of complexity as an aesthetics of fields, the key concept  being the notion of field which is a category coordinated with the ST

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 coming from modern physics and a particular from quantum field theory  that, considering it as a fundamental entity- insofar                                                                                                                                   as it can be seen as matter and energy in itself with probabilistic characteristics-helps to establish a new and                                                                                                                                    original process of the fields in the complex germinal development of pure forms; therefore the hypothesis that could be sustained is that their creation as transcendent representations are of gravitational origin; thus establishing itself as a theoretical foundation of the a priori principle of the sensible and intelligible world of objects in the phase of cosmic potential representation to individual physical transcendental, identified and recognizable as a universal law and explanation of the creation of pure forms in art.-   

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