Aesthetics Satire

Aesthetic Aura Investigation One

Hypothesis: The aesthetic aura of art as identified by Walter Benjamin will result in anomalous electromagnetic field readings around artworks. This will vary according to the aesthetic quality of the artwork. We base this claim on results from paranormal research. Ghosts, like aesthetic value, are intangible, yet they manifest anomalous electromagnetic field readings during hauntings.Subject: A show of abstract paintings by two painters exhibited in a representative regional museum/gallery space.Equipment: An EMF meter with analogue read-out and separate sensor probe.Notation: A or B are the artist. A-E is the aesthetic quality of the work, where E is low and A is high. The numeric value is the strength of the EMF in Milligauses.Data: Readings at approx. 5cm from the surface of the painting.A1:D/0.05A2:C/0.05A3:D/0.1A4:E/0.05A5:D/0.1A6:D/0.05A7:D/0.05A8:E/0.05A9:E/0.05A10:E/0.05A11:D/0.06A12:D/0.05A13:C/0.1A14:D/0.051:D/0.052:D/0.053:D/0.054:D/0.15: -6:D/0.067:D/0.058:C/0.19:C/0.110:D/0.07511:C/0.112:D/0.0513:C/0.0614: -15:D/0.0516:C/0.217:D/0.0518:E/0.119:D/0.0620:D/0.0521:C/0.0522:E/0.023:C/0.0524:-25:D/0.0526:D/0.075Analysis: The 0.05 reading seems to be the background level.The meter’s other setting (H rather than N) shows a drop when pointed at paintings.The needle wobbles when the probe is moved towards or away from the painting. Is this because the probe is moving through static radial layers of the aesthetic field?There is a broad correlation between higher aesthetic score and a higher EMF. Exceptions to this might be due to the personal subjectivity involved in assigning an aesthetic value to work. This is one good reason why using EMF readings to evaluate a work is desirable.Perhaps readings should be tried at an ideal viewing distance.Should the EMF reading be scaled by the size of the work?Conclusions:There does seem to be some correlation between aesthetic value and EMF field strength.Further research should be undertaken. Anti-aesthetic work (such as readymades) and more highly aesthetic work (such as Old Masters) should especially be examined.

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One reply on “Aesthetic Aura Investigation One”

Miroslav Provod
Energy of tibetian monasteries
Like other religious and ritual structures on the Earth, tibetian monasteries are also activated by the cosmic energy. The interesting thing is the fact that their energetic intensity is obtained by some unknown principle – by the use of rotational bodies. There are praying mills built in the monasteries (hollow metal hooks similar to a barrel) that are manually rotated by the monks. There are also small mobile praying mills that are rotated by the help of a string with a weight at the end. The cosmic energy of the praying mills could be transferred to a different matter like we prove it in other cases.
I recommend repeating two easy experiments. The small mobile praying mill could be easily made from a metal can with a volume of about 200 ml. We empty the can through a small opening and then make 2 holes that are in line with each other and then insert a screw-driver in these. At the bottom part of the cans' side we make an opening where we attach a string about 10 cm long. At the end of this string we attach a small weight. If an assistant manually makes the can rotate, we could measure huge increase of his aura every minute. The volume of the aura has a relation to the capacity of cellular membranes.
Another easy experiment proves the same function of great praying mills, which can also be used to manipulate the energetic intensity of the matter of the monastery, unlike the small mills. To do this experiment we need an old LP records player or some other turning device and a metal pot that we put on the turntable. By following the instructions I'm describing in my article “Dowsing versus aura” we make three identifications of aura.
1. when the turntable with the pot is not turning
2. when it is turning with the pot upside down
3. when it is turning with the pot in a normal position
We can easily persuade ourselves with the energetic function of the praying mills and we can also revise the “bell effect” form 15.century that I'm describing below again.
Fire is used to fill up the energetic intensity of matter of the monasteries during butyraceous sacrifices. Candles are used in other religious structures for the same reason. The function of monasteries in Tibet is not different from other religious structures – an energetic surge is created in them, where people fill up their bodily energy.
The rotational matter produces cosmic energy – it's another interesting piece of knowledge that works in other cases in the same way. It's not easy to name all the rotational bodies that are surrounding us everywhere (astronomical bodies, wheels of motor vehicles, trains, turbines, tornadoes and many other cases). If we put together the previous energetic knowledge with rotational energy we can say that motion of matter produces cosmic energy. I'm describing a graph of growing aura of a stationary automobile in one previous article “Dowsing versus aura”. When the automobile is moving it's necessary to add the new knowledge to aura. In this case the energy increase could go beyond an energetic boundary, that is unknown yet, and cause delayed reactions for example.
The energy of rotational bodies isn't the only piece of knowledge from tibetian monasteries, interesting information could be obtained from the answer to a question why they chose another energetic source in Tibet unlike in other religious structures? One answer could be that the normal sources aren't intensive enough at high altitudes. It's not just important information, which increases knowledge about the properties of cosmic energy in high latitude mountain region, but it also makes us think about new experiments. New knowledge from research hints that the energetic and chemical properties of cosmic energy are larger than we could think.
Miroslav Provod, September 2007-09-19
In the 15th and 16th centuries bells were hung in the opposite way than usual – with the tongue upside down. This was useful especially with heavy bells, which were easy to swing – the bell was swinging under its own weight and was kept in motion by tread. As this manner of hanging was considered non catholic in the 17th century, bells were hung with the tongue down on most of these steeples. Reasons for “non catholic” have appeared to me little convincing for the quantity of elaborate reconstruction, especially when it did not pertain of sound effect and the hanging was not visible. So that to make sure what kind of reason could be for the change of hanging these bells, I decided to check up the whole thing. The result appeared faster than I have expected, energy reason must be added to the reason “non catholic”.
I used meter tall marble hexagon about weight of 200 kg like a steeple dummy and I put it up to the energy zone. For the lucidity I will not concretize its energy value and I will mark it like fundamental. I placed 1.5 kg bronze bell to the steeple dummy (by tongue down) and after a short time its primary value increased nearly to treble. At the opposite placing (by clapper up) the fundamental worth of steeple reduced around 20%. I repeated this test many times always with the identical result. Therefore it's clear that difficult and hard reconstruction of steeples on churches was just an energetic matter.

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