Experimental confirmation of the hypothesis on transphysical impact of art works on noosphere. Bread and Wine and Mother-Raw-Earth

24 September — 21 October, 2008







We can say that at this time same as in the beginning of the 20th century, many philosophers feeling the crisis of modernity appeal to God. Their attempts of synthesis of science and religion often have mystical character appearing as a result unacceptable either for traditional religiousness or for classical science.

Gor Chahal is an artist resonant with this complex tangle of religious mystique and scientific knowledge. In his creative activity the form of the work of art is completely subordinated to the expression of semantic essence, where his search for truth, for the genuine present appears paramount - "things that do not change the world but make it stable". That is the way for Gor to solve not only artistic tasks - he is driven by the pathos of creation of the new man. The artist chooses thin energies which are both the object and means to affect the physical and transphysical world.

According to Daniil Andreev the concept of "transphysical" is defined as non-physical, related to all worlds existing in other flows of time and other systems of spatial coordinates. Thus any significant event or phenomenon has a prototype in the Thin Plan, therefore history from esoteric point of view represents a projection to the physical plan of this prototype.
According to Plato ideas exist irrespective of natural phenomena and things. The synthesis of ideal and the thinnest matter, which is in constant formation and self-renewal, generates the whole material world. For Gor the work of art is not simply a cultural artifact but in the first place it is a conductor to the sacral world.

We can say that modern art, same as religion and science, investigate life: the artist reveals its laws while materializing the matter. Gor's aesthetic position is based the concept that contemplation of artist's work is, in essence, an active spiritual practice of the recipient actualizing the world of ideas. A work of art, thus, is giving up the functions of a simple artifact, expanding the horizons of the material world it creates a universe of transphysical communication.

In the project "Experimental confirmation of the hypothesis on transphysical impact of art works on noosphere. Bread and Wine and Mother-Raw-Earth" Gor is pulling together the objective research and the energy of artistic idea. One can recollect Einstein's statement that purely mathematical construction allows to discover the concepts and the natural connections which give a key to the understanding of nature.
Modernist pathos of syncretism of science, art and religion, is combined by Gor with the formation of the new hierarchy of values, as well as with the irony about the "domestication" of the church, "socialization" of art, "pragmatization" of science. In order to prove his hypothesis on "transphysical impact of the work of art on noosphere" the artist, using scientific method, turns to sacred religious symbols of earth, bread and wine.

Gor like a shaman comes on the territory of science, though he believes that it is not yet ready "to speak the language" of art but it can help by providing the toolkit. He is not lost in the stranger's territory, only for some time with all the accuracy and zeal typical for him he keeps the detailed protocol of an experiment using scientific language. He is using such notions as similarity, equality, drawing vector lengths, in detail describing the empirical data of the experiment.

In the sterile atmosphere of the laboratory in the chamber of electronic microscope earth, bread and wine were placed in turn for photo shooting. In order to reveal the impact of the artist's works on the chosen substances, his works were also placed in the chamber. As a result, after the repeated series of photo shooting, taking into consideration the systematic error, the artist with the help of a scientific adviser ascertained the movement of earth and bread particles. Thus the own hypothesis of the artist proves to be true.

Same as the scientist Hoffman admired the color of butterflies and flowers from the scientific point of view, Gor finds the confirmation for his non-scientific hypothesis within the framework of classical scientific research. Is it genuine or can these descriptions rather only externally carry out the function of methodological application, only some interpretation of the plot, an image, which he wants to broadcast? Aporia is removed by the ironical gesture of the artist, unlike the science where the experiment is a mean to reach the truth, in modern art it can be the goal in itself.

The duel success of the experiment is obvious, on the one hand it is fatally successful in the field of art, on the other, it has ambiguous estimations in science. The process of research is extremely important for Gor. Performative religiousness of the artist transforms the research experiment into some kind of a ritual. Mystical character of the precisely reproduced procedures has a direct impact on the result of research and on the process. Here each step and each action as well as its record are a part of the universal sacral. Thus, the artistic - scientific research goes beyond the limits of the simple accumulation and processing of empirical data to become a sacred ritual.





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