Introduction

Imaginary Circuit
From Notes on the Gap Theory
From Notes on the Gap Theory, 1983
Fourier's Paris
Fourier's Paris, 1992
Fourier's Vegas
Fourier's Vegas, 1992

Controlling the imagination

It is like working to induce the imagination to supplement information when information is imperfect or close to imperfect. Let's apply that property and test the imagination control.

Ho[]

What's that?

Ho[] Ski[]

You're going a bit faster,

Ho[] Ski[] Jum[]

You must have covered quite a considerable distance!

The [] above is a gap that has no meaning.
I call it an "imaginary symbol." You should think of it as the imaginary symbols taking on the information you send, and you are sending information on letters close to the actual ones. The imaginary symbols have a kind of spacing unlike actual conventional symbols and they can be fundamentally anything you want, however. If one considers the information content (the imaginary portion) of such imaginary symbols, its capacity must be like a pocket with a hole in it - something of unmanageable size. In truth, however, the context surrounding the imaginary symbols gently drops a lid on them. In the above example, context is increased in proportion to the volume of information and with the repetition you should be able to get the meaning. So then - a moderate amount of redundancy is necessary for a person giving and taking information, and having too much information content doesn't work well. This fits in with the imaginary directionality. Nothing happens when someone is suddenly confronted with an empty canvas, but we think that by controlling an imaginary symbol's imaginational quantity, we can start up a little imagination, gently amplify it, and direct it toward a greater imagination.

Fanciful art engineering

One of the requirements of science is the possibility of verification.
There are individual differences in emotional phenomena, including art, and since it is difficult to objectively view the phenomena themselves, they don't easily lend themselves to being scientific objects.
Beyond many people recognizing that something is art, there also seems to be an objectivity and a course of logical acceptance; so even if it is a reason only good to you, if we assume we can derive art that can be objectively evaluated, such a fanciful theory should not be abandoned.
I have been investigating a mechanism to produce art with this imaginary circuit theory. In this retrospective, I would like to present some of these mad experiments for your inspection. My experiments will have been a success if you feel that there is the aura of art in them.

Entrance to the exhibition

From this point, I will present the projects and works in reverse chronological order.
I will start with the newest project, and as pages go by, we will look into the past.
You can read just a synopsis and look over all the material quickly if you follow the "next chapter" links at each section.
This exhibition is a project using information technology such as the internet and electronic publishing
to illuminate with real light the depths of the nameless artists who, by their nature, are sinking in the imaginary darkness.
It is my hope that you look upon them with a feeling as if you were peering into a telescope or microscope.

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