creasingly based on geometry. He was working to devise a new pictorial language for the masses. He repeatedly studied the landscapes of the Breton island of Belle Isle, radically simplifying scenes to transform nature into geometric shapes.
Vasarely increasingly found his subject matter in the sciences—such as physics, biochemistry, and magnetic fields—and described his abstract art as "…poetic creations with palpable qualities capable of triggering emotional and imaginative processes in others." His art gave sensory forms to unperceivable phenomena.
Vasarely came to feel that color and form were linked in that each color and each form should share the same identity. He viewed his abstract art as composed of pure color-form which by its very abstractness signified the world through the limitless associations and responses of the viewer.
Kinetic Explorations
In the mid-1950s Vasarely began integrating architecture into his art and producing kinetic works, films and writings. The Denise René Gallery in 1955 had a pioneering show of kinetic art, "Le Movement." Among those represented were Vasarely, whose works employed the principle of optical movement.
Vasarely's concern with optical perception had lead him to explore the effects of motion, not of the art object but of the viewer in relation to it. His works were composed of several overlapped sheets of Plexiglas on which black designs had been painted. The slightest motion of the viewer made the design seem to change and move as well. In conjunction with the show Vasarely issued his Yellow Manifesto, in which he discussed his theories of color and perception.
In Vasarely's black-white period of 1951-1963, he used compositions of stripes, checks, circles, or lines to explore the illusionistic effects he could achieve by modifying his patterns to give the impression of surface movement or of concave or convex forms, as in Andromeda (1955-1958). At the same time he developed the idea of eliminating the premise of the figure-ground relation, the image or central motif set against a ground plane or an environment, by filling the entire surface with uniform optical stimulation. In conjunction with this he often reversed a composition by inverting the black-white or color relationships.
In 1965, he participated in the "Responsive Eye" exhibit at the New York Museum of Modern Art, dedicated exclusively to "Optical Art". This pictorial movement attached itself to the concept of suggesting motion without ever actually performing it. It instituted a new relationship between artist and spectator, where the observer cannot remain passive, he is free to interpret the image in as many visual scenarios ha can conceive. Received with great acclaim, the press and the public hailed Vasarely as the inventor and creator of "Op-Art".
…
usinesses
that don’t. This arguably sets their managers apart
from those who prioritise short-term profits and
earnings targets. That longer-term perspective
in itself can make for an attractive investment –
particularly for long-term investors, such as
pension holders. ESG CREDENTIALS need to [BE]
STRONG on CLIMATE SCIENCE
... and as Menas C. Kafatos has so succinctly
proposed in his role as Fletcher Jones Professor
of Computational Physics at Chapman University
in Orange, California ...
"Science advances by dialogue, inquiry and the
exchange of ideas. Today dialogue is even more
important than in the past, the entire community
problems and issues that science is facing need
the best of minds, and hearts, to come together.
Science and philosophy, science & philosophy
science and metaphysics, are complementary
activities. Diverse fields like global climate,
neuroscience and consciousness and even
quantum field theory, advance through the
very intersection of ideas and methodologies,
not by censorship."
…