Imposition

Chapter 1
Our inner space is filled with images
Filled with images that we constantly carry with us, our inner space can’t be regarded as an EX- position*, but as an IM- position.
An exposition relates to the exterior space and generally to all that pertains to EX- (exteriority, exclusion, expression, existence), to what is “outwards”, to what is represented on the surface, outside the painting or sculpture, to the visible shell of forms. It “locates matter in a particular space”, “abusively separating the geometrical properties (defined by form, mass, volume) from the temporal ones”, as Bachelard would put it. “While matter is perceived by basic intuition under its located aspect, as if it were marked out, encased in a well delimited volume, energy evades all shape; it is only in an indirect manner that the latter can be configured, by being assigned a number.” Imposition comes to make up for this arbitrary separation, revealing the spatial dimension of time and, in a certain way, rendering this dimension visible. Imposition can be regarded as a state of space (just like energy in fact).
 
 “Modern science shows us that what we do is leave the world of static solid forms and enter the world of the fields of dynamic energy. Our ancient world, consisting of solid and concrete objects, is surrounded and penetrated by a fluid world of radiating, perpetually moving energy, which, just like the sea, is given to permanent change, being accessible to us only because we ourselves are part of it.”
While the organization of the exterior space is dealt with by Exposition, the inner space, visually abandoned in a certain way, has to do with Imposition. We could say, actually just like in the case of cyberspace, that no dimension, no physical “existence” as such can be associated to the inner space. But what does “physical existence” really mean? An instance of physical space exists as such only when we take into account the direction vectors, speed and time, which are variable. This space is constituted through the intersection of mobile elements. As a spatial determiner, the concept that defines the lack of the physical dimension in interiority belongs to the same general tendency of de- materialization, de- substantiation, de- realization, de- concretization harbored by the world itself.
It is legitimate to ask ourselves what kind of coordinates the inner space can have, since it entirely lacks physical coordinates. How can we qualify it after all? Is it: semantic? psychological? emotional? mental? homogeneous? linear? discrete? Is it “a space without a place” just like the Internet? Can it be considered as immaterial, parallel with the physical world? Can it be defined by the temporal dimension of instantaneousness? How can one describe our inner rooms, which are so palpable, so close to us?
As fluctuant, dynamic, uneven, perpetually changing, unstable, extremely familiar spaces?
 “We live in a hundred different places at the same time that are mysteriously interconnected. We live not only in this tiny corner of the earth, but also in the immense, disquieting universe of significance. We live among representations, stories, images, olfactory intensities. Our exterior or objective world is only one of the thousands of worlds we live in. This world, regarded as exterior, is simultaneously a biological artifact and a social convention. If it weren’t for its significance to the beings belonging to our species and culture we wouldn’t even be able to perceive it. We are engulfed by our subjective hyper world and it is almost impossible for us to separate what belongs to the exterior from what belongs exclusively to us (desires, memories, images and their associated sensations…), since the worlds of significance we live in communicate to such an extent among themselves through thousands of secret connections. The exterior world is encompassed by our subjective hyper world.”
The space of our subjective hyper world is real. It is a space of meaning, an internalized space, which functions along with the others, having physical being. Just like the Internet, it is a “topo- semantic” space.
 “My body doesn’t move by itself in a single space. It works in an Euclidean space, but it is just working there. It is seeing in a projective space; it is touching, stroking and feeling in a topological space; it is suffering in another; it is hearing and communicating in a third and so on… Because this body of mine doesn’t exist in a single space, but in a complex intersection… in a set of connections and junctions, affinities which have to be established in this variety.”
 
The inner space, intersecting with all the other spaces in this set of connections, this familiar space of our subjective hyper world, is filled with images. It is, par excellence, a place of visual, latent or actualized information. We carry all kinds of images everywhere with us: clearer/ or/ and/ more obscure, more superficial/ or/ and/ more profound, further/ or/ and/ closer to our actual state, comfortable images we feel good with, harmonious/ or/ and/ uncomfortable images, lacking harmony, calm/ or/ and/ aggressive images, interrelated, complex, clustered, associated/ or/ and single, solitary ones. Terrorizing, obsessive, elusive, forgotten/ or/ and/ buried, present or latent. There are visual, tactile, olfactory, acoustic, succeeding, mixing, triggering one another, often coexisting or functioning simultaneously. Our inner senses, our inner eye is open to this- should we call it chaos? flux?/ or/ and/ latent universe of images, which evade what is logic or illogic, what is present or absent, what is existent or nonexistent.
The signifier of “to be” in the subatomic infinite becomes vague, expands, and loses its exclusive power”, physicists say. The same goes for our inner universe.
 
 “Unicorns don’t exist/ They are only believed to exist/ There are no unicorns/ They have something else to do”.
The space of imposition is “populated” by these images, which have something better to do than exist or not exist, that are very hard to capture by a single formula. Ask whether they are stable, we will answer NO; whether they are fluctuating, we will answer NO; whether they are obvious, we will answer NO; whether they are apparent, the answer is still NO; material, NO, immaterial, NO (we are paraphrasing Robert Oppenheimer, who was referring, in a somewhat similar manner, to the positioning of the electron). That is why imposition shouldn’t be searched for on the surface, in the picturesque appearance of a pleasant and disorderly nature; imposition is intended to be a penetration into an inner universe, into the heart of substance.
We could say that it isn’t restricted to theoretical thought, but that it acts fully within the sphere of the visual and of the habit of looking at things.
Imposition “saves us from being imprisoned in the interior of a sphere of meaning” and doesn’t make use only of the visual codes. “The concept extended by art”, the extended concept of art, goes beyond and beneath the visual, in a universe that is saturated with invisible places, but filled with images. What we’re preoccupied with is the visual interface as a way of approaching things, as an attitude, as a habit of looking at things, as an interior practice, as the domain of what is visible; what we’re also preoccupied with is the meaning of the look we cast.
 
 “Your inner being/ is none other than your inner sky./ The clouds come and go,/ the planets are born and then disappear/ the stars appear and then die,/ but the inner sky stays unchanged, untouched, unblemished./ Go in, delight in the inner sky./ Remember: no matter what you watch, that thing isn’t yourselves./ You can see thoughts,/so you’re not thoughts,/ you can see feelings,/ so you are not feelings,/ you can follow  your dreams, desires, memories/, fantasies, projections,/ so you’re not all this./ Continue to eliminate everything that you can see/ And one day you will live that moment,/ the most important of your life,/ when there is nothing else to refuse./ Everything that can be seen has disappeared/ only the seer is left./ The seer is the clear sky.”
Chapter 2
The inner universe, saturated by the invisible, but filled with images
The space of Imposition is represented precisely by this inner universe, “by your inner sky”, saturated with the invisible, but filled with images.
Physicists talk about a universe that has been saturated with the invisible. “We are made of the nuclear matter that belongs to the visible universe, but there undoubtedly exists yet another kind of matter, non-nuclear, too dark (or maybe too bright) for our eyes and probably considerably richer than our own.” We should be able to imagine, as our conversation partners, a group of non nuclear beings, too dark or too bright, and probably much more apt than us, from a mental and emotional point of view, to see these images absorbed into the invisible, which so far we have been unable, untrained or untaught to see.
 “The visible is only the trace of the invisible- Leon Bloy writes, and what makes us, visual artists, interested in Imposition is precisely this valorization of the invisible.
“Everything that is visible clings to the invisible,
The audible to the inaudible,
The tangible to the intangible,
Maybe also the imaginable to the unimaginable.” (Novalis)
The space of Imposition is inhabited by images, which sometimes pertain precisely to the invisible, intangible, unimaginable. The extremely limited experience over reality springs also from “the rough properties of the visible universe”, as astrophysicists call them.
 
We are looking for “…an invisible dimension because we can’t see it with our eyes…” (Duchamp)
The invisible carries the resonance of images in it.
 “When a song ends, it leaves a certain quality behind- namely its absence. The atmosphere is no longer as it used to be, it has completely changed, because the song has first passed through it and then has disappeared. There passes a beautiful person. Look! After this person has passed, you should follow his or her passage. Something has been left behind. The energy of this person has changed the atmosphere of the room; it is no longer the same room.”
The same thing happens with inner images; our inner rooms where our subjective hyper world works, are full of these images’ absence or presence; the invisible is filled with images that come and go, leaving behind a vibration, a resonance, a fluctuation of energy, a certain quality of the information.
As Dujom Rinpoche was saying: “Although different forms are perceived, they are essentially void; nevertheless, it is in the void that we perceive forms. Although different sounds are heard, they are void; still, it is in the void that we perceive sounds. There also appear different thoughts; they are void, but still it is in the void that we can discern thoughts.”
 
We’ll experience the fact that “form is vacuity, and vacuity form, we will consciously create forms, until they become visible to the inner eye and we give them life and meaning, in order to make them become reabsorbed, piece by piece, step by step, into the all- encompassing inner space.”
   
We can say that most of the visual information is generally ignored. That can be due either to the clichés, schemes, models, stereotypes, which have taught us to see only certain parts of reality, to select only some of the visual pieces of information, while the other pieces have been omitted, erased, forgotten, hidden to the eye, or it might have more or less objective causes whose premise would be “seeing is believing”. We can talk about many things people weren’t able to see before having been taught to see them, before having been taught to select the visual information from the areas where such information, traditionally, “didn’t exist” and then process it, carry it further. Imposition is related precisely to this kind of visual information, which is processed and selected in a different manner and it offers another kind of observations regarding the way in which one should look at the visible surface of the world. On the other hand, we are entirely aware of the fact that imposition is nothing but a moment, nothing but a step, just like “from the point of view of its visual character, the bidimensional painting was nothing but a stop” (Peter Weibel).
 “I was staring at the spaces between the birds. It was as if an invisible thread were connecting them on the exterior. And on the interior of this fragile net, they had the sky which was here or there, moving along with them” (Emily Bishop, The Birds). The inner sky, untouched, unblemished, carries the vibration of the images which come and go.
“Return slowly inwards and let your gaze expand and gradually become wider and more penetrating.
You will discover now that vision itself has become wider, that there is more peace, more compassion in your gaze, more self-control and more equilibrium.”
The energy of the birds that come and go, with the sky as their background, has changed this space; after they have disappeared they have left something behind; the space is no longer the same, even if the images are now absent.
The inner space is completely modified after we have located these images that are now absorbed into the invisible. An imposition has taken place.
At the time of the visual discourse the image must have been touched, “even if it stays outside our focus, and the effect attached to it must have been released”.
Chapter 3
Visualization- visible, invisible, unimaginable
We can’t always visualize inner images, or we don’t always want to. Being diffuse, they form a background, they create a state, they initiate vague sensations; the progress of visualization can be difficult in this case and the essential vibration might be missed. How could we come to capture entirely, in visual codes, the mental, sensorial, etc. complex images? We already know that a considerable amount of information can’t be selected directly on the retinal level. We should remember that we see only small portions of reality. “Billions of possible images remain hidden from us.
Our physical eye, which is “sensitive to a very narrow interval of frequencies of luminous radiations” stands as a proof of our limited or rough, still unused genetic resources.”
 “We can’t claim we can see without our eyes, but we can neither claim that our eyes see.” (Fichte)
“We expect that there should be a limit of our abilities of observation of the nature of things. There will be things we can’t see, events we won’t be able to record, possibilities which we won’t be able to exclude.”
Nevertheless, the part played by visualization and the visual is essential.
 “Look at the sunrise and feel the sun rise within yourselves. Open yourselves and try to include as mush as possible. The experience will be wonderful. When you feel the tree inside you, you feel younger, fresher. This isn’t just your imagination, since both you and the tree belong to the earth. The vital energy of the tree, its freshness and tenderness, the gust of wind, everything will be felt inside you, within your own heart. Try to include everything that exists, don’t exclude anything. The more you include, the more you expand and your own limits extend until they become one and the same with the existence. And one day, you will be just yourselves.”
The aim of imposition is expansion- if you can call it so. It aims to change the vision, the perspective on the limits of the visual, to free itself from the meaning routine. Bringing the inner image (now residing in the dark, marginal, twilight, limbo area), as much as possible, into the area of perception or of visual, retinal, solar understanding, might represent an exercise in imposition. Seeing not only the tree, but feeling its freshness, its rustle, means feeling younger, fresher, means assimilating the attributes of the image, internalizing it in a direct manner. This can be an exercise in imposition. Just as the mere signaling of the non- visible and the risk of making a detour in the visual, which modifies so much data, can represent an exercise in imposition as well.
 
 “Rather than suppressing our emotions or indulging in them, we should actually visualize them, together with our thoughts and everything that turns up, accepting them with generosity, as openly as we can. The Tibetan masters say that this wise generosity has the savor of infinite space, so warm and comfortable, that you feel enwrapped in and protected by it, as if it were a blanket woven by sunlight.”
We’ve become used to regarding a visual artist as a protector of the state of the visual, of what is included in the visual. Centering upon the state of the visual might involve several levels: being in the visual, in the visible, in the non- visible, in the invisible, in the visualization machine, being visible in a fluctuating manner, having a degree of visibility etc. In this context, looking means crossing several spaces, going up several levels of the visual and of visualization, finding sensors for these spaces, for these levels, processing the data in question.
 
The constraints of the visual diminish considerably. Maybe sometimes we can intuit or perceive these inferior spaces together with their images, but what we lack is the program of processing this kind of information, which is sometimes diffuse, fluctuating, mobile, and inconsistent. This is precisely the part assigned to IMPOSITION.
 
Nowadays, there are intellectual technologies which act directly upon our senses or upon our perception: the microscope, the telephone, the photographic techniques, the image recording, the reproducing and transmission procedures, the techniques of visualizing what can’t be perceived, the X rays or the infrared cameras, the scanning technique or the screening of numeric or anatomic data. All this has expanded the domain of the visible and the significance of looking, bearing consequences in the artistic, scientific and social domains.
Although it doesn’t belong to an intellectual technology or to a meditation technique, in another way, Imposition also brings about the revaluation of the domain of the visible and of the significance of looking. Scanning the inner images, which are neither stable, nor fluctuating, neither obvious nor apparent, neither material, nor immaterial, is probably a matter belonging to the future, a difficult matter, but by no means an impossible one.  (“We could call difficult the thing that cannot be done immediately. The impossible is that thing that takes longer.”)
Perceiving the inner space as an imperceptible space or as a physical space with zero dimensions, saturated with the invisible, but filled with images, as a dynamic space, fluctuating, unequal, continuously modified, makes us conceive it as a set of inner rooms, not exhibition or exposition rooms, but imposition rooms, where the image has a different status and looking acquires another meaning.
Chapter 4
Your image filled inner rooms
You are a carrier of images: anytime, anywhere, you take with you your inner universes, rooms, spaces, your inner horizons that are not EX but are IM- positions, with live, personal, maybe invisible paintings, without physical dimensions, filled with images which turn or pour into one another, which are entirely your own- imagery data bases that you constantly actualize and combine. It is them that are the codes of your identity.
The tradition of meditation teaches us that “you are supposed to have a generous, open and compassionate attitude towards your thoughts and emotions, because in fact your thoughts are your family, the family of your mind.” The concept of art and of the domain of art becomes expanded, more nuanced, it becomes enriched by “the family of your mind”, by your inner images from the Imposition. These are subtle images, sprung from the concept of a matter that goes beyond or beneath the visual, beyond the rough properties of the visible, material universe. Matter understood as energy, field, information, space, time. The more we direct our gaze inwards, the more we will feel that the matter has become “dematerialized”, reduced to the codes of its own identity.
Imposition starts from your images, visualized or not, on the verge of being visualized or kept in the silent darkness of the visual non-codes. You alone are the artist, the one who opens his inner eye to see this universe that’s invisible but filled with images that belong to the family of your mind. You are the one who creates, selects and combines all inner images, no matter if they are mental, sensorial, logic or illogic, visualized or not, on the verge of being visualized, so hard to capture in a unique formula. Thus belonging to space, imposition helps us to look towards the uniqueness of the inner dimension. “Each of you is unique. And the fact of looking for what is unique in you is actually an extraordinarily intense fact, a great adventure.”
 
The Theory of Relativity already included the observer, the uniqueness of the observer in the description of a physical system. In quantum physics, the role of the observer and the activity of the measure instruments became an integrating part of the phenomenon, regarded as “undetermined” before the measurements and the arrival of the observer. In visual arts, what is essential is to center upon the inner space of each of us. You have your own inner vision, and your inner space represents an enormous potential for the everyday art gesture, for the everyday image of art. Imposition makes you return to your own self, to your own identity, to your own becoming. All that is required of you is to look at yourself, to look towards yourself, within yourself, in your rooms, in your inner spaces. “Centering upon your emotions, feelings and thoughts, you become free of them and go beyond them. Your personality dissolves and only the witness remains. Then you pass beyond the witness. Don’t ask me about this, just search within yourself.”
The coordinates of our inner spaces form our own inner “map”: here are the codes of our own identity. The cartography of these spaces brings forth our own universe, our own emotional body, it actualizes our own inner world, it puts it in front of us so that we might be able to see it, make it become engulfed in a unique horizon, helping us discern its continual changes. Becoming myself, visualizing the codes of my own identity, being able to glance within this inner space, which belongs to me, along with its images, this is my aspiration- this is the aspiration of each one of us. The images from the imposition are the projection of the time that was lived, that is not linked to a total beginning and to a continuous duration.
But how logical, how predictable can this dynamic universe be? Is it governed by predictable attractors (like in a traditional system) or by “strange attractors?”
 “Look at your own thoughts and then look at yourself looking at the thoughts. The state of freedom of all thoughts will suddenly emerge and you will recognize it by the beatitude accompanying it.”
Looking is essential in this universe. Imposition brings a new value to the meaning of the look and form, visible or only evincing a degree of visibility.
 
 “The form of our body is constantly changing. But you haven’t noticed that. If you keep your eyes closed, you will sometimes feel that your body either grows larger or shrinks or that it becomes very heavy or extremely light- as a feather, as if you were able to start flying. You can feel this growth and diminution of your form.”
The form of the emotional body, just like that of the physical one, grows larger, shrinks, changing perpetually. This cartographic procedure lies within the domain of imposition.
 
 “Love, peace, happiness, beauty, everything is within yourself, within your inner silence, here and now.”
 “If we become aware of our body from inside, we no longer have to do with a material object, a thing among others; we are in front of a living organism that is the product of our mind, of the fundamental tendencies of conscience.”
Just like our physical body, our inner space is constantly changing. This growth and diminution of form and space can be also felt from inside.
In fact, there is nothing that could force us to believe that space is continues and not discrete at the deepest microscopic level. Indeed there are some theories of quantum gravity where it is supposed that space and time aren’t continues. Their consequences are unfathomable.
Chapter 5
The cyborg, synthetic images, synthetic IM- positions
As imposition is related to the subjective time, that was spent, lived, we can’t very easily imagine a computer carrying our inner spaces, these rooms filled with all kinds of images belonging to our personal memory, that are defining for us.
While some are convinced that the human mind differs from a computer only in power and homogeneity, others claim that the two are completely different. The question logically arises: if there is artificial intelligence (in the sense that it was actually possible to create it), why wouldn’t it be possible to have artificial sensitivity as well (wouldn’t it be possible to create it?)? The synthetic inner spaces, which are artificial, the synthetic impositions, which are analogous to the human ones, could constitute a point of departure in this respect. “It is in the tumultuous flux of phenomena, in the perpetually moving reality, that the physicist can discern permanencies”( M. Juvet)- and it is these very permanencies, these invariants, these constants that should be taken into account when we talk about the impositions of synthesis.
It would be desirable to have their formalization, their harmonization with mathematical constants and information bits in an area of reference, which implies the perturbations of physical experience. Of course we will have to abide by a certain limit in applying the concept, but this won’t prevent us from going further and from thinking about imposition as about an open, shaping reality.
 
If we take into account the fact that imposition, as a state of space, is connected on the one hand to the code of its own identity and, on the other, that predictable or strange attractors can govern it (as mathematicians and physicists call them), if we take into account that the universe can be regarded as an alternative, chaotic universe, as an unrepeatable and unpredictable behavior or, on the contrary, as an ordered chaos, we could look into a logic of fluctuations.
The geometry of fluctuating spaces will also be of some help here.
In the context related to the strange attractors, we should also mention the theory according to which “the flutter of butterfly wings over the state of Texas would generate an atmospheric disturbance  that would be enough to create a snow storm in the Ural mountains” (the butterfly effect). “The overall form of the strange attractors is predictable, but there are only unpredictable details involved in its making.”
A dynamic system- of the type of the meteorological one/ or one like the inner spaces/ is made up of a “huge number of interacting elements that are hypersensitive even to the action of an insignificant agent: the heat let out by the hood of a car, the wind produced by the wings of a Madagascar mosquito, almost any element that hasn’t been included in the measurements of a meteorologist, would be enough to modify the functioning of a meteorological system.”
The more so one can at any time modify the “picture” of our inner states, our inner images, that are fluctuating, discontinuous, unpredictable, that is our imagerial behavior. We have to take into account the fact that a “a tiny element that appears inside the dynamic system can generate a major disturbance.”
The images in our inner spaces are of this kind.
The dynamic, chaotic systems (such as, among other things, cigarette smoke, cardiac activity, stock exchange activity or- as we say- imposition) seem to be attracted by strange forms, with an irregular aspect. This is what mathematicians and physicists call “the strange attractors”, which reflect the constant transformations taking place inside dynamic systems. These STRANGE FORMS, WITH AN IRREGULAR ASPECT can be regarded as PROBABLE FORMS, STATISTIC THINGS, endowed with hierarchical qualities that don’t have absolute permanence. Could we, in the present situation, speak about a causality of the probable? This could be if we were to define determinism as a probabilistic convergent perspective.
 
The probable shouldn’t become mingled with the unreal. How could an elementary phenomenon be predictable, since it isn’t VISIBLE, that is, since it can’t receive a precise description? This phenomenon is essential for imposition, for the way we approach imposition before it might completely elude us and become forever lost to us.
The mechanics of the fluids or the kinetic theory of gases, which is due to an elementary phenomenon that can’t be denied, can contribute to our understanding this. Undoubtedly, undeterminable is not a synonym of undetermined. “The enormous plurality evinced by the shock phenomenon among the molecules of a gas presents itself as a kind of general disseminated phenomenon, where elementary phenomena are strictly independent of one another.” Here the calculus of probabilities might play a part. In its most simple form, this kind of calculus is based on the total independence of the elements involved. If there existed even a slight dependency, a disturbance would occur in the probabilistic information and a great effort would be necessary in order to take into account an interference between the real dependency bonds and the strict laws of probability.
The experience of PROBABILITY might be an adequate answer to our coefficients of psychological expectation directed towards the more or less formalized probabilities. It is time that will be instrumental in creating the probable, in bringing the experience of probability, in bringing probability itself, into effect. The rationalization of the experience of the probable will be achieved through the correspondence between PROBABILITY and FREQUENCY.
 
It is on this data linked on the one hand to PROBABILITY, FREQUENCY, STATISTIC THINGS and, on the other hand, to the CODES OF ONE’S ONE IDENTITY, OF ONE’S OWN SPENT TIME, that the formalization of the data relative to the INNER IMAGES could depend on.
Images create their own fields, each of them endowed with its own energy, function of the intensity of the emotion which was or is being invested in them when the decoding process takes place. Because of this, the interference of the fields of these images generates emotional states and is directly dependent on the register of images, on whether they interact in a conflicting, harmonic, indifferent way, etc. There are images that function as strange attractors, initially appearing as details of little significance, as secondary details, which may however change this field completely. The power of the inner image is irreplaceable. From this point of view, there are images which effectively kill- killing images- (obsessive, terrifying ones, etc.) or, on the contrary, redeeming, purifying, completely benefic images (icons and sacred spaces in general). The fields created by inner images and by their energies are obvious and they play in fact a part in everyday life. Strange unpredictable attractors, that are apparently unimportant may direct the way in which they exert their power over us.
Modern science has used us to working with probable, statistic forms and images, endowed with hierarchic qualities that don’t have absolute permanence. The theories related to FLUCTUATIONS and PROBABILITY will constitute a great help in this respect. Phenomena taken as elementarily undetermined can be composed or recomposed due to probability and can thus take overall shapes. It is upon these overall shapes that causality is based. In this respect we can talk about a causality of the probable.
 
“When calculating the movement of a projectile’s material point, for example, we find ourselves in the impossibility of taking into account all the factors involved. The fact that we can still make predictions is due to the notion of probability, which expresses a law for the factors that haven’t been included in the calculus.”
Thus, if we can speak about complexity in relation to the movement of a material point, we will be more than entitled to appeal to the notion of probability in the case of the inner images, which move inconspicuously, at an amazing speed, since it is impossible for us to take into account all the factors involved that haven’t been integrated in the calculus.
 
What should be built is a program that opens towards the inner world, which has synthetic images, coming from a synthetic memory, which has several possibilities of visualization that could render one’s personal mark. Such a program would encompass these rooms, these spaces filled with inner images, spaces that no longer abusively divide the geometrical properties from the temporal ones. The space-time complex constitutes the essence of the phenomenon we are talking about.
 
The images will be classified not only in databases, but they will also intersect, forming constellations, being associated or only selected in order to be processed. The program of imposition should not only “teach us” to look inside, to acquire the perception of this look, but also help us to understand what we see, process the data offered by perception.
Determining the constants that could acquire particular values, the visual constants that could free us of the routine of meaning, which makes us the victims of experience, whose character is unilateral- this would be the role of the program called imposition. “De- concretizing” the visual constants and associating them with bytes of information won’t constitute an impediment in the program; on the contrary, it will help us to formalize the visual information.
 
Images, as the spaces of evocation, of memory, deposited images, consolidated in time, which make the personal archives become structured, are part of the space of imposition. Time is an essential component for these spaces: “Our temporal intuitions are still very primitive, reduced to the intuitions of a total beginning and of a continuous duration…In the new domain of microphysics what is essential is the discontinuous aspect. Here time operates more by repetition than by duration”. The permanencies in the personal archives of the inner images and spaces that have been deposited in time, their frequency, the probability of their repetition, ultimately the statistics of their emergence and frequency, their degree of fluctuation and of irregularity could be the basis of synthetic archives, of artificial memory, even of artificial sensitivity.
 “Memory weaves a man, there in the depth of a three- leafed chakra, in the eye of our forehead (…) My memory is the metamorphosis of my life, the adult insect whose larva is my life. And without a courageous jump in the milk abyss that surrounds it and hides it in the bow of the mind, I will never know if I was, if I am a voracious black widow, a dreamy spider with endless legs or a butterfly of uncanny beauty.”
 We can ask several questions regarding the synthetic impositions: how singular (personalized) can one’s personal mark be? what would the images that have been associated, actualized or kept in the latent memory in order to “populate” the world inner universes, look like? How much of this would be visualization and how much will be kept in the black holes of the non- representation? will this “world” be beautiful? harmonic? or will we be the ones to stop at this beauty? etc.
 All this should be taken into account if a conscious and sensitive object could be built.
 
 “The philosopher who follows the topics related to quanta- la schola quantorum- accepts to think about reality in its mathematical organization, and, even more, becomes used to metaphysically measuring the real within the possible, in a direction that is strictly opposed to realistic thought.” We will add that it is the same for the meta- visual artist who is preoccupied with imposition.
Chapter 6
Exterior/Interior
Exposition/Imposition
“Should we invent some other “outside”?”
“Something such as this could be only inside ourselves.”
In this acceptance of “looking”, we will be surprised by what can go on inside us. “There is a reality that’s already present in each of us- but we never look inside. Our inner world has its specific taste, its specific smell and light. It is completely silent, infinitely silent, and eternally silent. There has never been heard a noise inside and never will it be heard. No word can enter there, but you can.”
Subject to IMPOSITION, the inner world rests between the domain of physics and of metaphysics.
   
“As we become better acquainted with the inner universe, the meaning of our life and death becomes gradually insignificant and even absurd. Could the atrophy of our inner being be the price paid for our scientific knowledge?” a physicist like Basarab Nicolescu asks himself.
It is IMPOSITION that plays the part of returning the inner being, of making it significant.
 
“Everything is as if the knowledge and learning that a civilization never ceases to accumulate couldn’t be integrated in the inner being of those who form that civilization.”
The visualization of the inner interface, of the inner universe, could constitute the first step in this respect.
“Celebrate your pure inner space and a wonderful song will arise in your heart.”
Osho tells us a story related to this:
“Judaism included a school of mysteries called Hasidism. Its founder, Baal Shem was a  remarkable man. Once, late at night, Baal Shem was coming back from the river- it was his custom to do so, because at night the river flowed so calmly and peacefully… He would just sit on the riverbank looking at himself. That night, upon returning, he passed by the house of a rich man. The watchman was standing at the gate of the house and was extremely surprised that every night, at the same hour this man would return from the river. So he went to the latter and said: “Forgive me for stopping you, but I can’t help being curious. I have become obsessed with this. What are you doing? Why are you going to the river? I’ve followed you many times and I’ve seen that you don’t do anything, you just sit there for hours and return at midnight”
Baal Shem answered him: “I know you’ve followed me many times, because the night is so silent that I can hear the sound of your footsteps and I know it every time you hide behind that gate. But you’re not the only one curious here, I’ m also curious about you. What do you do here?”
“What do I do?” the man answered, “I’m just a watchman”. Baal Shem said: “Lord Almighty! You’ve given me precisely the answer I was looking for. That is my job too!” The watchman said: “But I don’t understand. If you’re a watchman you have to watch something: a house, a palace. What are you watching there in the sand, what are you looking at?”
Baal Shem said: “There is a slight difference: you watch something from outside, someone who could break into the palace; I merely watch who the watcher is. Who is this watcher? This is the effort of my entire life: I look at myself.” The watchman showed his surprise; “But this is a very strange job. Who pays you?” Baal Shem answered: “This is such a great delight, such an overwhelming happiness, that the reward comes by itself. Even a single moment is more precious than all the treasures in the world. “The watchman said: “That is strange… I’ve been watching my entire life, and yet I have never encountered a more beautiful experience. Tomorrow night I’ll come with you. Teach me. Because I know how to look, only now I have to change direction; you look in another direction.”
Imposition is not only a “watcher” of one’s own inner self, of one’s own inner space, but also it can become even a “witness” of such space. The inner gaze helps us in this respect.”
Chapter 7
IMPOSITION seen as the change of visual codes
IMPOSITION should be conceived as an open reality, adapted as much as possible to the visual codes that are so changing, so fluctuating contextually. It should be situated beyond the routine of meaning.
 
Only when it has finally become operational, when it has finally directed our attention towards the inner images, spaces and rooms, towards these dimensions of the visual, of the visible, of the personal marks and of the codes of one’s own identity, only then can IM- position, as a universe complementary to exposition, become used and thus retreat.
Once attained, the dimension in which the inner ambience becomes personalized and visualized, together with the intimacy of this visualization, can become so well established in one’s custom, conscience and everyday life, that all discussion and comments related to it become useless.
The consequences of the way in which this visual concept changes the perspectives of our looking, succeeding in building not only intelligent, but also sensitive “objects”, bearing personal marks, can go beyond the confines of the visible; IMPOSITION refers to the meta- visual.
 
It contributes to configuring a world where our inner ambience will be a better place to live in, where our own inner universes, our own being, our own selves will be more comfortable to be in, where we will be able to integrate our knowledge and emotions in a more personal, more personalized way. It is the assimilation of creativity in one’s psyche, as a force upon which the force of the ego is based, that opens mankind the gates towards their own creativity.
This narrative “reading” of the images in imposition has to be gradually erased, forgotten, as we start to perceive our own inner worlds and use the coordinates of our own inner space in order to navigate, because, after all, it is here that the art of each of us starts…

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­1. Gaston Bachelard -Le nouvel esprit scientifique
2. Barbara Ann Brennan- Braţe de lumină,  New York, 1988
3. Pierre Levy
4. Lesley Stern-A Fluid Architecture, Deep Water, Biennale of Venice,Australia
5. J. Andouze,Michel Cassé, Jean- Claude Carrière, Conversation sur l'invisible, Plon, 1996
6. Sannyas
7. J.Andouze, op.cit.
8. Osho, Meditation: The art of Ecstasy, Osho International Foundation
9. Dujom Rinpoche, Revoluţia interioară, Ed. Herald, Buc. 2002
10. Lama Anagarika Govinda, Creative Meditation and Multi-Dimensional Counsciousness, Madras, India
11. Sogyal Rinpoche, Revoluţia interioară, op.cit.
12. J. Andouze, op. cit.
13. J. Barrow-Despre imposibilitate, Impossibility, Oxford University Press, 1998
14. J. Barrow, op. cit.
15. Osho ,op.cit.
16. Sogyal Rinpoche,op. cit.
17. George Santayana
18. Dudjom Rinpoche, op. cit.
19. Osho, op. cit.
20. Nisargadatta  Maharaj, op. cit.
21. toţi atractorii stranii sînt de fapt fractali. Un atractor straniu e reprezentat de o traiectorie nepredictibilă în care o diferenţă minimă în poziţiile de plecare a două puncte iniţial adiacente  duce la poziţii total necorelate în timp sau la reiterarea matematică .(Clifford A.Pickover- Chaos in Wonderland.Adventures in a Fractal World, 1995).
22. Nisargadatta Maharaj, op. cit.
23. Osho, op. cit.  
24. C. W. Poonja
25. Anagarika Govinda, op. cit.
26. Ca logică alternativă, sintagma „logică stranie" sau „logică cuantică "e folosită de Ray Kurzweil-The Age of Spiritual Machines. How We Will Live, Work and Think in the New Age of Intelligent Machines,1999.
27. Briggs- Fractals. The Patterns of Chaos, 1992
28. Ion Manolescu- Literatură şi ştiinţă: atractorii stranii
29. M. Hans Reichenbach
30. Gaston Bachelard- Le nouvel esprit scientifique
31. Mircea Cărtărescu-Orbitor. Aripa stîngă -1996
32. Gaston Bachelard- Le nouvel esprit scientifique
33. J. Andouze,op. cit.
34. Osho, op. cit.
35. Basarab Nicolescu, Transdisciplinaritatea, Polirom,1999
36. Basarab Nicolescu, op. cit.
37. Osho, op. cit.
38. "Omul ale cărui interese se află, în exclusivitate în afara sa- scrie C.G.Jung- nu este niciodată satisfăcut cu strictul necesar, ci caută mereu altceva mai bun-credincios înclinaţiei sale-în afară.El uită cu desăvîrşire faptul că, în ciuda succeselor sale exterioare, el rămîne înlăuntrul său neschimbat şi, de aceea, se plînge de sărăcie dacă posedă doar un automobil, atunci cînd majoritatea posedă două. Este evident faptul că vieţile exterioare ale oamenilor solicită mai binele şi frumosul, dar aceste lucruri îşi pierd semnificaţia, întrucît omul interior nu se împacă cu ele.A fi satisfăcut de "necesităţi"este, fără îndoială, un izvor interminabil de fericire, totuşi omul interior continuă să protesteze, iar pretenţiile sale nu pot fi satisfăcute cu posesiuni exterioare. Şi, cu cît este mai puţin ascultată această voce, în goana după strălucirea acestei lumi, cu atît omul interior devine cauza unor necazuri şi angoase inexplicabile, în mijlocul condiţiilor vitale, ale căror rezultate ar fi trebuit să fie cu totul altele. Tendinţa spre exterior a vieţii conduce spre o incurabilă suferinţă, întrucît nimeni nu poate  să înţeleagă cum este posibil să sufere numai din propria vină. Nimeni nu se întreabă cu privire la această nesaţietate, ci o priveşe cu dreptul său legitim, ignorînd faptul că materialitatea acestei date psihice conduce, în final, la cele mai grave disturbări de echilibru."