At the emergence of quantum investigation, Art followed, consciously or not, with Science’s shift from centuries-old object-based system of physical laws into the strong evidence of a more information-based or potentiality-based reality. The interacting billiard ball view of an outside world was being undone from a perspective on the very smallest yet foundational scale.
The question "...what does this mean? when confronted with an Abstract work of Art is illustrative of the point of where Art can lead the viewer/experiencer beyond the old Newtonian object-derivative surface reality towards a system a century of new Science has evidenced as inseparable information of all-potentiality. As viewer becomes experiencer, witness becomes participant, Abstract Form is no longer relegated to someplace outside one’s reality as confronting object or static learning but as inseparable information.
Art presents an experience of this Science. The Abstract is not fixed to an area outside reality, its roots can be evidenced through great invention and new thought breaking the pattern of the habitual.
The physical experience of the Abstract in Modern North American Art (Heizer, De Maria, Turrell) began at the outer edges of shared experience, the uninhabited American Desert, and is now evolving inward, centered within the collective self or populated thought we name City. HELDAN inhabits this landscape. The isolated site for Art becomes almost an isolated occasion if relegated to a separated time or a separated place.
The scientific investigations of the physical laws that govern reality has moved from object centered to content/information centered. The Abstract Forms of Land Art signaled the frontier of this thought, at the horizon of this new landscape. The Abstract is not fixed to an area outside our reality, it is our reality. For over a century, the shift from the old yet still pervasive Newtonian reality as separate object-based content to the quantum suggested reality as inseparable information/potentiality-based content is shown through investigative parallel in Art. HELDAN’s permanent installation within the collective self or City evidences the dissolving or disassociation of objects as outwardly separate interactions in one’s reality to that of inseparable information.
I use Art as a gendenkenexperiment to that experience.