In space, time passes.
If you put a clock in a room, it will tick.
Time is associated with change. In that room, a person walks around. A moth circles. Another person enters, then leaves. The shadows move. If you wait long enough, a light bulb will burn out.
In space, some objects remain stationary. Books on a shelf. Notebooks on a desk. Boxes piled in a corner. Shoes on the rug. But again, if you wait long enough, those objects change. They decay.
So convincing is this presentation, we assume all space is this way. And we assume physical space is all the space there is.
Whereas, if we begin talking about the space of imagination, most people would draw a blank. “Imagination exists? Yes, maybe, I guess so. But it has a space or spaces? That’s going too far. That’s tantamount to setting up a ‘competitor’ to the space we all recognize. That’s weird and wrong…”
When I began painting in 1962, one of the first things I became aware of was I was finding and creating space on the canvas. And of course, much earlier, I had vivid sleeping dreams. What was that “thing” I was walking around in, in those dreams?
I once asked a physicist about this. He said: when you dream, you think you’re in space, but that’s just an illusion. As proof, he pointed out that he wouldn’t be able to measure what was happening in the space of my dreams, and for him, that was that.
When you’re inspired by a subjective vision of what you want to do to make your own future, and you stand at a window in the middle of the night and look out over a city, your experience of space is much different from what you experience while walking to your car in the morning to drive to work.
And even if you call “the visionary space” subjective, it can be a crucial factor in what you actually do to bring your future about. To make it happen in the world.
The energy exercises I developed for Exit From the Matrix are also about space. To project energy, you create space naturally.
Go back and watch Orson Welles’ Citizen Kane or Touch of Evil. Those films are all about created space and the arrangement/motion of people in space, and the angles from which they are shot. All film is about this, but Welles does it better.
From the viewpoint of imagination, space is being created all the time.
During the years 1935-1960, in New York, the so-called action painters (De Kooning, Pollock, Gorky, Kline, etc.) discovered space as a primary workable “substance” for their explorations. They were quite forceful about it. It had nothing to do with Renaissance perspective or the illusion of intentionally drawn objects that mimicked how we see the world. In action painting, subjective space was pushed to the hilt, and it disturbed many people because it challenged the comfortable sensation that space was an entirely settled issue.
When you create space, you create power. Yours.
You’re no longer simply living in the automatically delivered space of the universe.
The transition from heaven-based religion to the worship of the universe itself occurred because, after the deconstruction of religious myths, the simplest course of action was to claim that the space we could see all around us, or through telescopes, was holy. It was easy. And holy space would give us all we needed, without any action on our part. Passivity.
The philosopher-poet, Giordano Bruno, was burned to death by the Roman Church because he suggested that every soul could extend his own space infinitely and yet remain in accord with other souls. This view challenged the Church at such a fundamental level it could not go unanswered…