We experience the moments in a three-dimensional world that we can touch, see, hear, and interact with. However, our experiences are not limited to just the three-dimensional world that we perceive with our senses. We also have memories and imaginations that allow us to recall past experiences and imagine new possibilities. These memories and imaginations can be thought of as mental constructs that exist outside of the physical world.
Our experiences are the moments we encounter and perceive in the world around us. These moments can be thought of as points in time that are connected by a sequence or flow of events. In other words, our experiences are a sequence of moments.
In a three-dimensional world, with the addition of memories and imaginations, this world is no longer just three-dimensional. With memories and imaginations, the sequence of experiences will be reorganised, giving rise to unexpected new concepts and insights, expanding the understanding of the world beyond its three-dimensional nature. By reorganising our experiences in this way, we can gain new insights and perspectives that we may not have otherwise considered. We can also create new concepts and freedoms that allow us to think and act in ways that we may not have thought possible before. This is because our memories and imaginations allow us to break free from the constraints of the three-dimensional world and explore new ideas and possibilities.
From the viewer’s perspective, the power of an art work that constructs memories and imaginations does not lie in the quantity of details, but in their persuasiveness.
So, how can we distinguish important from unimportant or less important details? Unimportant details are those that are irrelevant, incomprehensible, do not resonate, and cannot stand the test of time. What dominates memory and experience are the things that are not forgotten and not expected, and they differ from mere experiences. These experiences firmly grasp the observer’s heart, making it possible to jump out of the plain 3D world, to perceive the true world where the memories can be finally revealed and imaginations be confirmed. Only by including these in the expression can this kind of artistic expression be authentic.
The role of memories and imagination shapes our experiences. Art can use persuasive details to construct and evoke memories and imagination in the viewer. The collective unconscious refers to the shared pool of knowledge and experience. Artworks that tap into this collective unconscious can evoke a sense of familiarity or recognition in viewers, which can lead to the activation of their own personal memories and experiences. Through this process, viewers can reflect on and imagine their own lives and experiences and gain a deeper understanding of themselves and their surroundings. A connection between the artwork and the viewer allows for a deeper understanding and interpretation of the piece, leading to a greater appreciation of the artwork, as well as personal growth and reflection for the viewer.
On the contrary, meaningless repetition that has already been experienced is unnecessary and meaningless. The content of such an experience does not allow the viewer to undergo a transformation. Thus, we should reject meaningless feelings that are merely attached to ourselves.
The important revelations do not occur in direct, repetitive experiences but only in memories and imaginations. These memories and imaginations give us a certain distance, and we can comprehend the overview and possibly perform extremely important analytical understanding. To understand what happened is not to simply accept it, nor is it just to admire what we have accepted. Remembering forgotten information and imagining seemingly insignificant puzzles can help us understand previous or incoming pieces of information.
In representation, the artwork should not specifically deal with repetitive scenes but rather extracts commonality from those scenes. This commonality is usually unknown to us, but it is our “real” life, the life beyond the repetitive shallow reality. Only when the viewer’s gaze jumps out of the surroundings and enters the higher dimension(s) can the viewer firmly grasp the root of the inspiration.
Yes, I am referring to guiding consciousness towards those madeleine moments and involuntary imaginations through arts. In this way, the artwork could bridge the gap between the creator’s memories or fantasies and those of others, making communication between different worlds possible.