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”Crystallography of Turbulent Flow : Works of Nobutaka Ueda 1997-1999” 2000



Next Publication "Self-organizing Chaos Works of Nobutaka Ueda 1996-1997" 1998      Back




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publication
Nobutaka Ueda
Naoyuki Takashima
Kimitoshi Sato
Nobutaka Ueda
Takami Abe
Nobutaka Ueda
46page 19.5cm×21cm
2000
Naoyuki Takashima (Art Critic)
"Meaning of "Closing Your Eyes - Power of Inner Sight, Motif of Nobutaka Ueda"

Kimitoshi Sato  (Anthroposophical studies )
"Where does colour come from?"

Nobutaka Ueda
"Open System, Nonequilibrium and Autocatalyst"


Open System, Nonequilibrium and Autocatalyst
Nobutaka Ueda



We can turn down our eyes on the coming art to the inside of ourselves. Someday it will be unfolded to reality.

  The culture today is characterized on the one hand by the extreme of creativity reduced to show an inflexible and materialistic tendency and on the other by the extreme imagination stunted and almost drying up. I wish this collection of my works will be a little fluctuation to be an origin of a flow opposing the culture which drops into the extreme ends. It is long since transition to an advanced new system which can be referred to as a culture dissipative structure has been expected in art, politics, economy and education. Are we now, however, actually enterning a new age? Erich Yantsch points out the following conditions of self-organizing dynamics ("Self-transcendence=Evolution" system) in his book titled "The Self-Organizing Universe".

Open system : Exchange with ambient enviroment

Nonequilibrium : Conditions far from heat equilibrium due to an existence of a flow of a physical content such as heat toward inside of a system, in other words, hot boiling and bubbling conditions.

Autocatalyst : Conditions under which a produced substance or a system accelerates its production process by itself. It is considered as a self-replicating positive feedback loop.

  What on earth is art satisfying these conditions? Modernism has made a self-replicating development being supported by a concept of evolution and by linear reductionism which can be referred to as a kind of scientific dogma in spite of its materialistic aspect, while the "Mono-ha" school satisfied the condition of the open system by incorporating an enviroment as a part of the work. The modernism and the minimalism derived therefrom, however,finally came to a deadlock since they were closed systems in which only formative elements were reduced to be simplified, while the "Mono-ha" school failed to develop to a new stage since it was an equilibratory system without dynamism. Postmodernism successfully achieved an open system by plagiarizing others with collage-like techniques at the sacrifice of its self-replicating development.
  It is quiet time now for us to search for the "coming art". What is called contemporary western art has already begun to harden materialistically or to be subsumed under a communication theory. Now we need to take a step toward another direction. The Self-Organizing Dynamics theory, however, is just a means of showing an aspect of reality. Which aspect, however, is shown in a certain time is not a matter to be ignored; rather, it is important to check the direction in which we started to step forward. I still believe in this age of the cultural crisis that the transition to a new system originating from this little fluctuation will be successfully accomplished by talented people.
 


Implicating Rheo Movement Op.25
1999 73cm×51.5cm
 

A example of the
dissipative structure
Belousov-Zhabotinsky Reaction
Meaning of "Closing Your Eyes"- Power of Inner Sight
Motif of Nobutaka Ueda

Naoyuki Takashima



‥‥‥Again, this Ueda's thought of paintings must be unique in the contemporary art scene. For example, in "Techniques of the Observer" subtitled "On Vision And Modernity In the Nineteeth Century" by Jonatan Crary published in 1990, Crary discusses a theory and a bottleneck regarding a method of observing the world, revealed in modern times as described abave. One of the points at issue is that a position of a human being in a dark room, a camera obscura, supposes that an eyeball is a subject having an ability of looking at the world through a lens fixed in the pinhole, thereby only the faculty of eyes has been considered as the single dominator to comprehend the world.
  Therefor, a view of the outside world has been considered top be contorollable with the faculty of opened eyes provided with an overall authority and integrated with a Newtonian scientific principle or its pragmatic spirit, and a point of contact between subjectivity and objectivity has been found out there. Crary ,however shows what observation of the human being would be like in the room darkened by closing the pinhole with referring to the thought in "Theory of Colour"(1810) by Johann Wolfgang von Goethe discussing a matter of physiological visual image which appears at closing the pinhole.
  In the darkness, there is no longer a distinction between the outside world and the inside world within the eyeball and the dualistic view of the world through the function of the camera obscura or eyes breaks down. Although an image from light passing through the pinhole still exsists as a "visual image" which stimulates external perception of a human being, after all it remains to be there flowleesly even if the human being is not there. Closing his or her eyes, the viewer cannot find out a clear relationship between the world and the human being which has been revealed by the camera obscura and the distinction between the inside and the outside disappears. A physical phenomenon not mutually related to the outside world appears there.
  At this point Goethe suggests an aspect which has been suppressed and concealed, in other words, ambiguity of the observer as a menace to the optical system which has been dominant since it was presented by Newton. Crary draws the coclution that a discovery has been made concerning matters inseparable from the total function peculiar to a human body in the 19th century, though, in the time when a camera obscura or a device derived from an allegory of an eye was a dominant model for observation, the reproduction or abstraction from could be typical in constructing intelligence in general.
  A manifestation of "insight image" in the function of the total body does not exist as one separate from a human body like a camera nor as a substitute for an eye, but exists as unsystematic or unconstructive one independent of such a dualism. Ueda's works do not exist as result of substitutional actions of his body, a fuculty of sight, of viewing from the inside toward the outside world as described above, but in his work precedence is given to understanding "visibility" inside the world with the visibility put in a relative position due to loss of the viewpoint. His demand for closing his eyes seems to be a valuable attempt for thinking over the future of the contemporary paintings.


Translated by Takami Abe
  


Opsis-Physis Op.8
1997-8  194cm×163cm


Crystallography of turbulent flow Op.7
1998  117cm×117cm







  Next Publication "Self-organizing Chaos Works of Nobutaka Ueda 1996-1997" 1998      Back



  

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