Idea of form in art

"Destruction of the point is the line,

Dimension, the real.

But the point has no dimension,

From point to line,

Unknown are

The before, after, and the between

Beyond is a concern and limitation is real

Virtue to visible

And

Visible to known,

When do they begin…?

When do they end…?

A question can be a question

Only when the questionable exists..!

So, when do they exist…?

…Form….!”

When we delve into the chapters of human evolution, the concept of form emerges as a prominent factor, possibly even preceding the notion of the primordial, or God, depending on one's perspective. It's not that the idea of God supplants all other forms in human evolution as the ultimate achievement; rather, God represents faith—a form that has been practiced and manifested continuously for thousands of years in human history. While the concept of God itself may still grapple with formative issues, "What is a form?" may not be the most challenging question to explain when it comes to God.

In specific conditions, an idea can be effectively contextualized as a form within an expressive framework, such as dimensions, constructs, or continuums. However, when the idea is removed from these conditions (which are themselves a form), the question of "how does a form develop?" becomes a complex puzzle for human intellect, encompassing both physical and metaphysical understanding. Throughout history, thinking individuals have addressed the issue of conditional and unconditional explanations in two distinct ways.

One group of thinkers attempted to deconstruct the universe into its fundamental components, as exemplified by Sage Kanada in India and atomists in the West. On the other hand, science and art have sought to comprehend the cosmos by exploring relationships, dimensions, and entanglements through theories like relativity, quantum mechanics, string theory, aesthetics, and expressions. The inherent complexity of these explorations, whether in thought or practice, lies in the fact that they often employ one abstract form, yet to be fully understood, to explain another. If we define intelligence as the application of experience to possibilities based on empirical knowledge, then the concept of abstract forms explaining other abstract forms becomes an absurdity in comprehension.

The linguistic limitation of words, where individual letters or words may not carry their full meanings, perhaps explains human fascination with order and structure as forms in language and life. Intelligence, devoid of thought, is merely an experience. It's essential to note that without language, thought cannot exist, and without thought, there can be no structures or forms. Setting aside the metaphysical idea of the development of Space and the required primordial intelligence, if we focus solely on human evolution, the connection between form and intelligence becomes evident.

Furthering this argument on the relationship between form and intelligence, we realize that the process of communication, one of the first forms developed by our primitive ancestors, was not primarily an intellectual procedure but an evolutionary adaptation. The same applies to physical forms—they are evolutionary modifications, nature's deliberations on its components, and the idea of form in art. However, these natural modifications become artistic representations only when they align with the structures of aesthetic thinking in the human mind. Therefore, as far as the human mind is concerned, a form "takes shape" within the mind, not in its physical existence. This process of isolation, selecting one form among many, marks the initial step in structuring human intelligence.

Returning to the earlier argument, "intelligence without thinking is only an experience, and it's important to note that without language, thinking cannot exist," we can now see a clearer explanation.

In keeping with this argument, we must also acknowledge that if a form originates in the mind and requires intellectual intervention to perceive it, then considering intelligence as a continuum in evolution and contextually constructed, achieving a complete physical or mental form remains an elusive goal for human life.

The quest for form, from ancient days to modern virtual reality, through primitive realism, magic realism, animism, geometry, and all other human engagements with form over thousands of years, tells us this same story. The art of form is no exception.