The basic terminology of the visible light spectrum.

Arts by default is about human experience with the visible light spectrum. In contrast science concerns the entire spectrum from short wavelength of gamma radiation to the longest in the form of radio waves. So what is it that makes a visible arts practice a practice which is distinct from doing science? I will propose that artists and their followers are not concerned with what is visible which is a paradox because doing art seems to be about what is visible. However on a more fundamental level the artist desires a sense of meaning derived from the visible which is arguable not necessarily visible. That entails not being the visible light spectrum. What the artist aims is to understand lived experience within the invisible which entails to a life within the photon fields that include all wavelength of light.

Analysis of above claim

1. The Domain of Art and Science: Visible vs. Invisible Spectrum
   • Art and the Visible Spectrum: This segment should delve into how the arts predominantly operate within the realm of the visible light spectrum. It’s crucial to explore the idea that art, while seemingly tethered to the visible, seeks to transcend mere visual representation. Artistic endeavor often grapples with conveying the ineffable, the emotional, and the experiential aspects of human life that are not directly visible.
   • Science and the Full Spectrum: Conversely, science encompasses the entire electromagnetic spectrum, from gamma rays to radio waves. The scientific pursuit is characterized by a quest for empirical understanding and quantification, often extending far beyond human perceptual limits.
2. The Paradox of Visibility in Art: Although art appears to be about rendering the visible, its true essence might lie in its ability to evoke meanings and experiences that transcend the visible. The artist in a sense is in a superposition to what is the manifest image due to engaging through science by token of their reliance on modernisation which is a by product of science.
3. The Convergence of Art and Science in the Photon Field: Both art and science, despite their different focus areas, coexist within the same photon field. This coexistence underscores a profound interconnectedness and interdependence. Art, in seeking to understand the lived experience, navigates the invisible emotional and experiential currents that intermingle with the visible. Science, in its quest for empirical truth, often renders the invisible visible, thus expanding the human understanding of the universe.

Philosophical analysis of perception of colour fields as a position.

The perception of colour of a short wave length such as violet has a high energy feel which correlates to an actual phenomenon known as the photoelectric effect that postulates that visible light at its short wave length such as violet light in contact with metal produces an electrical current which is not so for light with a longer wave length such as red. So observation of a sunset with reds and yellows have a mellow effect on the nervous system. A colour field of violet would by the same token have the opposite effect akin to energizing or envigorative.

Analysis of above claim

1. Scientific Basis of the Photoelectric Effect: The photoelectric effect, as postulated by Einstein, reveals that light can be understood as both a wave and a particle (photon). Shorter wavelengths, like violet, carry more energy and thus have a greater capacity to dislodge electrons from a metal surface. This concept grounds the argument in a physical reality, connecting the energetic properties of light with its perceptual effects.
2. Subjective Experience of Color: The perception of color is not just a sensory experience but also an emotional and psychological one. You posit that the high energy of violet light has an invigorating effect on viewers, in contrast to the calming effect of longer wavelengths like red. This point can be further strengthened by referencing theories in color psychology, which suggest that colors evoke specific emotional responses due to their perceived energy levels.
3. Neurological Impact of Color Perception: The impact of different wavelengths of light on the nervous system can be explored in more depth. Studies in neuroscience have shown that colors can affect mood and energy levels by influencing hormone production and brain activity. For instance, the mellow effect of a sunset’s reds and yellows could be linked to the body’s relaxation responses, while the energizing effect of violet could be associated with increased alertness.
4. Philosophical Implications: Philosophically, this analysis can be tied back to the debate over the objective vs. subjective nature of perception. Your argument suggests that our perception of color is not merely a subjective experience but is deeply intertwined with objective physical properties of light. This raises questions about the nature of reality and how human perception shapes, or is shaped by, the physical world.
5. Conclusion: In conclusion, the perception of color fields, when analyzed through the lens of the photoelectric effect and color psychology, bridges the gap between subjective experience and objective reality. The energetic properties of light not only have a measurable impact on the physical world but also significantly influence our emotional and psychological states. This dual impact underscores the profound interplay between human perception and the physical properties of light, suggesting a deeper, more holistic understanding of our interaction with the world around us.

The phenomenon of colour field decoherence.

This comes from the theory of quantum wave collapse. The basic claim is a quantum field could be observed as a particle or a wave. Observation collapses the field into an observable as either a particle or a wave. Art constructs a coherent pattern of observables anchored in a community of discourse through meaning making activities. So decoherence is set up within the construction of a colour field that makes meaningful connections that involve at some points particles or discreet objects as shapes or waves as pure interactions with formless colour fields.

Analysis of the above claim

1. Quantum Wave Collapse and Observer Effect: Begin by explaining the quantum wave collapse theory, which posits that a quantum entity (like an electron) can behave both as a particle and as a wave. This duality remains in a state of superposition until it is observed. Upon observation, the wave function collapses, and the entity assumes a definite state (either particle or wave). This concept is pivotal in understanding the fluid nature of reality at the quantum level.
2. Art and Observation: Transition to how art acts as a form of observation, creating a parallel to the quantum observer effect. In art, the act of creation or observation can similarly ‘collapse’ a multitude of possibilities into a singular expression. Artistic observation, unlike scientific observation, doesn’t just reveal a pre-existing state but actively participates in creating a reality or a meaning.
3. Coherence in Art through Community Discourse: Discuss how art constructs coherent patterns through a community of discourse, anchoring itself in meaning-making activities. Just as the wave function in quantum mechanics gives way to a definite state upon observation, art coalesces disparate ideas, emotions, and perceptions into a coherent form through collective interpretation and discourse.
4. Decoherence in Colour Field: Then, delve into the concept of decoherence in the context of a color field in art. Decoherence refers to the transition from a coherent quantum system to a system where quantum properties, like superposition, are lost. In the art world, this could be metaphorically represented by the transition from a state of potentiality (where every interpretation is possible) to a state of actuality (where interpretations are solidified into discernible forms and meanings).
5. Particles and Waves in Artistic Representation: Elaborate on how this concept applies to art, particularly in the construction of color fields. In art, ‘particles’ could be interpreted as discrete objects or shapes, while ‘waves’ could represent formless color fields or the flow of artistic expression. The process of making art involves navigating between these two states—giving form to the formless (wave to particle) and exploring the potentialities of form (particle to wave).
6. Conclusion: Conclude by summarizing how the phenomenon of color field decoherence in art mirrors quantum mechanics. Just as quantum fields collapse into a state of particle or wave upon observation, art collapses a field of possibilities into a coherent structure of meaning, navigating between the discrete and the continuous. This analogy highlights the dynamic interplay between the seen and the unseen, the definite and the indefinite, in both art and quantum physics, offering a profound reflection on the nature of reality and perception.

Depiction of the scientific image of light and the manifest image of light.

Pragmatic considerations

Object photography as embedded into a social context.

• An image is an object with connectivity to a network of persons.
• Photo object correlates to a point of view that is unique.
• Photographer’s view is interdependent with their context. 

How a print operates in mixed media with semantic content.

• Mixed media (found objects in the region) can give a sense of place to the print
• the material content of personal interest ( carve in clay a motif of region)
• expressionistic style (cubist, swirls, dots) reflect personal identity .

Changing gears towards abstractions

Object photography entails a classic paradox.

The philosophical point is the photographer is part of the picture, although not visible. Significantly, it’s the content that exists as a binary of self and not-self—a classic self-reference paradox of the type exposed by a famous philosopher in the early part of the 20th century. The action of capturing a scene embraces everything of an instance photographically. That is the entirety of the scene (image as object photo) is a set of all the sets (discrete objects in the scene) within the scene. There seems to be a recursive sense to the photographic scene. So given the photo contains everything in the scene, and ‘everything’ must be something, then by definition it (the photo) is a class by token the photo is a representation of an aspect of reality that is identical to itself.

Photo object analytics

The question arises: is the photo (as a class) a member of itself or not? If the photo is a member of itself by token of being unique object containing all the classes of possible associations within the object then it (photo) is a set of all sets. The photo contains itself along side all the representational objects within the photo. Though clearly it also is not a member of itself. That is the photo stands apart from all the representational objects the photo contains. Therefore the photo contains itself and does not contain itself. This is the case where if the denial of the conclusion that the photograph belongs to some other series of photos (hence the term photographic object is false) leads by necessity to the classic Russell’s paradox that the set of all sets both contains itself and does not contain itself. Therefore it seems futile to argue for the case of object photography.

Infinite conjectures on a blue monochrome

The photo is like a time slice of the whole field; returning to the image, it’s like turning the classic time piece sand glass. The event runs out again but in a diminished or dramatic form depending on the image and viewer. This ability to return to the photo as see it afresh again and again, as well as the sentence expressions about a depiction being possibly endless is baffling to contemplate. It might be equated to a somewhat a smaller infinity that is itself a sub set of a greater infinity, within say a thematic selection of photo’s. It is in the history of photography that certain photographers have made a career of reducing the possible infinity through making the image simple. However this only is a case of being conscientious based on preferences of what to represent but still would allow for endless expressions about the object. A counter factual would be a monochromatic colour field that seems to entail a one liner as in ‘this is a blue colour field’. However, on another account there are infinite expressions on this too. Consider a standard art historian analysis of the nature on that monochrome. Then a thought experiment of a possibly infinite chain of art historians each having their individual conjecture on the blue monochrome colour field.

A Photographic capture for covering in clear caste resin and embedded in air dry clay .

• keep the subject as primary focus, avoid cluttered surrounds.
• once you have a image printed on high quality paper it can be prepared for placement on a surface.
• glue the image and press it so it sticks to the surface.

Add complexity through layers.

The binary builds meaningful relations for maximizing semantic contrasts. This layered binary style fits well with representing relationships. The first is a natural color binary of shade and light, the next being industry and nature serving industry demarked by rail lines. The contrast of a super wide-angle shot of a sunset with a tiny fuel tank jutting from the darkness as the simplicity of a structural intrusive—the relations urban grand buildings as a binary with the street light at night. Birds hold a binary with their surroundings through the flight and by perching as observers of nature and humanism. The slideshow above indicates the straight style composition as minimalist.

2. Layers in photography for mixed media

It is through layers within photography that can drive a complex narrative. This style works well within mixed media artwork. The photography mixed media enables the use of this style of photography. 

• Focus through glass for reflection of a person walking past correlated with the non reflective image behind the glass.
• Focus through a grid or lines of wire.
• A puddle after the rain acts as a reflective layer.
• Objects such as cars in traffic as block objects layer abstraction.

Object photography within the mixed media.

One method is to prepare a tonal background. When dry, then add more complexity, so the printed image stands out. Another methodology would be to place the print and build up from that thematic referential point. Where both methods converge is the intentional use of variable media.

3. Dramatic object photography for mixed media

Whereas the other style main focus is on the aesthetics of elements. A subtle shift may be due to subject having a social dimension that through composition gives a dynamic message.

Dramatic geometric optics.

The nifty 50mm focal length is the choice documentary lens and ideal for the straight and layering street shooting styles. Photography with this focal length means little optical distortion if the picture is at least f11. It’s great to shoot with a prime lens, for it means any geometric effects are true to that focal length. The super wide-angle stretch space while the super-telephoto compresses or flattens space. Using objects with the optics to match can give radical interpretations of the thing photographed.

Object photography placement in mixed media.

The use of resin in mixed media for optical effects.

There are two approaches to enhance a photography print. Firstly, build up gradually layer by layer a mound of resin. Then place the image on the top covered with a thin layer. Objects can be placed within the resin so further developing a sense of 3D perspective. Secondly, there is the method of laying the print down and building layers of resin over the image. The process creates an optical magnification of the print. This style works well to create a focal point of the entire mixed media composition.

An example of photographic print embedded in clay on the edge of a four sided interconnect construction.

The series of images below printed with variable levels of resin poured over the print. The properties allow for a plethora of symbolic possibilities that can inform the painting as a whole or in part.

Painterly effects that blend with surrounding media.

The selection of black and white photography over colour.

The first choice is to use black and white prints. This choice is because the color may fade or change. Black and white images are graphic representations and so stand out within a complicated composition. However, color can be the right choice so long as the inks are of high quality.

Embedding the image so to build up a block of resin.

This technique isolates the image print. There are various methods used for this process as follows.

• Lino block that is cut out so to embed the image.
• Use air dry clay to build up around the image.
• Putty can be used though needs to hardened by adding resin.
• Rolled cloth or paper adhered to surface.
• embed objects within resin as an added feature.

This method, if used with care, can bring incredible detail to the photo print. However, it works well with abstracts with distinctive spaces. Oils are preferable, given there is no absorption into the paper.

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