Printed in Leonardo, Vol. 17, No. 3. (1984), pp 205 - 210
Superficially, belief in a fourth dimension encouraged artists to depart from visual reality and to reject completely the one-point perspective system that for centuries had portrayed the world as three-dimensional. The late nineteenth century resurgence of idealist philosophy provided further support for painters to proclaim the existence of a higher, four-dimensional reality, which artists alone could intuit and reveal.
In The Nature of Space of 1956 she [I. Rice Pereira] would write,
“The apprehension of space and the development of human consciousness are parallel. The more energy that is illuminated and redeemed from the substance of matter, the more fluid the perceptions become and the more the mind sums up into abstraction. The minds capacity for dimensionality and the structure of consciousness become available through experiencing ones own action…One cannot explore a dimension unless the constellation of ones own consciousness is prepared to apprehend it”.
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| Tony Robbins 2010 |
“Artists who are interested in four dimensional space are not motivated by a desire to illustrate new physical theories, nor by a desire to solve mathematical problems. We are motivated to by a desire to complete our subjective experience by inventing new aesthetic and conceptual capabilities. We are not in the least surprised, however, to find physicists and mathematicians working simultaneously on a metaphor for space in which paradoxical three dimensional experiences are resolved only by a four dimensional space. Our reading of the history of culture has shown us that in the development of new metaphors for space artists, physicists and mathematicians are usually in step.”
- Tony Robbin, “The New Art of 4-Dimensional Space”, p.20
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