Endless
waterfall ... return Universe [enlarged view] © copyright
1998 Wayne Roberts All rights reserved. Press F-11 key again to return to full tool-bar view in IE4+ & normal window Home |
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Start looking inside the ring at the 12 o'clock position and follow anti-clockwise. You'll see a river running through a canyon, and then at 10 o'clock it starts to drop into a waterfall. Your view gradually becomes 'aerial', and at six o'oclock you're looking straight down on the falls from above, as it drops into successive canyons. At two o'clock there is a road-bridge across the river and your view is more skewed even though still from above. From here the water returns mysteriously to its source having 'fallen uphill'. In this composition, there is a 'half-twist' in the viewer's perspective as
one proceeds to 'sequentially observe or follow' the circumference of the circle,
much like that of the renowned Moebius band of mathematics. This twist, instead
of existing Escher constructed a very clever drawing of an 'impossible waterfall' and made it all the more astonishing by convincing us that his 'perpetual motion' machine which seems to our surveying eyes entirely logical, could even power a turbine! His perspectival 'twist' was inspired by the Penrose tribar (a kind of impossible three-dimensional triangle). If we regard mathematical illusions and the 'logic of the impossible' as 'mere
curiosities', and 'quaint tricks', we should not forget the lessons of history.
Such lessons may change our view. For example, whilst it is true that parallel
lines do not meet in the (Euclidean) geometry of the flat plane, there are equally
valid (consistent) geometries of curved-surfaces (non-Euclidean) in which 'parallels'
do in fact meet, and in other cases, diverge. Einstein utilised these ideas to
help him formulate his General Theory of Relativity, in which he proposed that
matter 'bends' (changes the curvature) of the 4-dimensional space-time 'surface'.
This was a new and radical way of accounting for the effects of 'gravitation'.
In a bizarre The painting echoes another concern. That is that what seems to be so real,
such as the linear passage of time, may in fact be a lower-dimensional illusion
of our minds. Twentieth century physics affirms this. If we could perceive space-time
from a higher-dimensional viewpoint, we might observe (figuratively) something
like this: a strange and beautiful 'convoluting connectedness', without any 'loose
ends'. An ocean of connectedness, of 'waves' that rhythmically ebb and flow, rise
and fall, and whose peculiar unique forms are determined not by a static predetermined
monotonous metric, but by a liquid poem whose rhyme and meter only emerges from
the symphony of all the lines, and all of the verses, stunningly measured, but
whose measure both stretches and shrinks, twists and turns, yet remains forever
balanced, even in the cusp, ...every point, every entity, taking its cue from
every other, ...every syllable included in the rhyme and meter, every line, every
stanza, ...even the home
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