Intrinsic Art encapsulates knowledge at large and inventiveness in mathematical format and, more often than not, emulates a cybernetical model to recreate existential states that form an autonomous reality. Therefore its themes are universal, perennial and fashion independent.

Intrinsic Art calls upon mathematics to produce the subject and object of a painting. It focuses on realities of the mathematical space [1] and expresses them in art forms. [2]

Its method is algorithmic while the implementation requires computers for visual complexities, intensive calculations/execution and overcoming limitations of thoughts related to handling abstractions. The final art is delivered in unique, non repetitive format. The concept was first presented in a flow chart format in 1973, at the Sigma9 Festival in Bordeaux during a symposium chaired by Abraham Mohles and George Charbonnier.

Intrinsic Art's final format is the Protruded Sculpture which results when the main information of a visual message is combined and displayed with its redundant part. This means that the redundant part is recognized as a stand-alone artistic entity which, by comparison and differentiations, turns the entire process into a completely new art experience. This format reunites under one brand banner all Intrinsic Art's various developments.

Started in1968 [and exhibited first in 1970], this life-long project, has developed into three main strands [according to the nature of the respective algorithms]:

1. The S-Band,

is a generative analog-to-digital art instrument/device designed to create endless original, non-repetitive artworks. Its structure, algorithm, software and hardware are one and the same art object. Their physical structure is meant to be manipulated. When the manipulation includes the computer the S-Band becomes a generative method. Many call it a “paper art computer”.

S-Bands' focus is environmental aesthetics.


S-Bands' chronological evolution _image _image _image _image _image _image _image

More about S-Bands.

• Note: S-Bands, being objects are, in a sense, also sculptures but a the cusp between 2D and 3D; therefore they are granted a category of their own apart of sculptures.

2. The Meta-Phorm [Meta+Form+Metaphor]

Meta-Phorms are fine art representations of mathematical algorithms and procedures conceived specifically for art purposes.They are developed as mathematical propositions [games, build ups, algorithms] and which resulting interfaces [mathematical scripts, symbols and geometry] are simultaneously viewed as pictorial material and developed as fine art. The work is a simultaneity between an explicit mathematical statement and an artistic object [3]. Their artistic attributes are extracted from their inner numeric continuum and are not external additions. A major part of the process is the "migration of geometry" which is a set of procedures aimed at extracting a painting out of a linear drawing.

Meta-Phorms focus more on the existential discourse.


Meta-Phorms' chronological evolution. _image _image _image _image _image _image _image

 

More about Meta-Phorms.

This method has four parts:

1. Fine Art Oriented Mathematical Algorithms
2. Mathematical and computational operations
3. Interfaces and technology
4. Philosophy and spirituality

 

3. Sculptures

• cut, painted and folded

and

binary [based on the principle of 0 and 1]

 


[1] Mathematical space
“Mathematics is nothing more, nothing less, than the exact part of our thinking”: and “mathematics is an activity. It could be any arbitrary game one cared to dream up and played with any object or mathematical block.” [Luitzen Egbertus Jan Brouwer, Dutch topologist (1881–1966)].

"The mathematician’s chief concerns are the rigor of his reasoning and the coherence of theory. Here is precisely what distinguishes mathematical truth from physical reality...The abstractions of mathematics are universal and impersonal; their meaning is the same for everyone, at least since Descartes." [Georges Ifrah, Histoire, Universelle des Chiffres, L’intelligence des homes racontée par les nombres et le calcul, (Paris, France, Éditions Robert Laffont, 1981, 1994), Vol. 2, pp. 69] ". In other words it is a reality [truth] of the mind and in itself and is produced in the consciousness not in the subconscious [as in hyperrealism].

Poetry springs from the inner life of numbers, shapes and forms.They set conditions and rules, interrelate in groups, build structures and games. It is endless. We are invited in a world filled with surprises. This carries no personal subjective meaning; instead, it confronts us with a specific reality other than the one around us.

[2] Art Space
A mathematical object is not necessarily [and automatically] an art object unless it displays art qualities. Recognizing and controlling art attributes in a conscious way becomes an important part of the artist's work.

Intrinsic art value is a blend of roughly twenty detectable attributes but which contribution to the overall value is very uneven . If lets say 100% is the total art value then, according to some, 5 attributes [sincerity of artistic emotion, originality of concept, originality of execution, strength of color and sonority,] contribute 42% of the total, 13 others contribute 43% while the rest of 15% goes to the coefficient of sympathy [subjective attitude]. In other words 5 are vital and essential and without them is hard to talk about art value. Many will agree that assessing the work's qualitative blend is a valuable method to ascertain and control its artistic level.

Taken as an ensemble the attributes' hierarchy may be considered to form a factual truth in the art space, a fundamental criteria by which a work is accepted in it, or not.

[3] Dual objects
When a curve branches to various directions, the mathematician sees graphs and geometry while the artist may see trees and rivers.
The mind has the ability to instantly switch from mathematical to artistic perception hence the opportunity to create forms enabling the experience of such dualities.