This purpose of this article is to outline of four anticipatory ideas regarding new major advancements in the arts. It aims to capture the essence and future direction of early incubated ideas. More documentation to come later.

1. Non-local information channeled here

There has been a noticeable increase in artists detecting an influence of information from non-local sources in the artworks they produce. This idea of 'channeling information' from outside the bounds of the artist isn’t historically new, but the current increase in ability and understanding of this practice is.

A general description of this is ideas appearing suddenly that the artist rejects being sourced as their own - similar to a flow state that enables information to come through. These ideas and influences are not “bubbling up” from a subconscious process - but distinctly feel as though the source is external, with the ideas being injected as fully formed and autonomous.

This category of experience contains other mental imagery abilities that are also viewed as “not real”, and seen as merely projections created inside the mind of the individual which include such as: remote viewing, shared imagination, non-local visions, premonition, hyperspatial geometric patterns. The current belief of these types of experiences is that the source of information is simply mimicking an external location (i.e. it feels like it is out there) but the source is from an internal location (i.e. it’s really just fine-tuned pattern detection). This Western oriented belief about non-local sources is beginning to erode with repeatable experiences demonstrating latent abilities in the mind in a variety of situations. The genie is slipping out of the bottle.

2. Internal information stored “out there”

What feels like two sides of the same coin: there appears to be an increase in the ability to sense information about an artwork, that has no way to be present within bounds of the artwork. That is, there is information the artist is “storing” in a non-local dimension that is attached to an artwork. The information storage type can be beliefs, emotion, conclusions, thoughts, intention etc.

This storage capacity of information makes sense when we look at “species” wide information-transfer abilities. Quantum entanglement hints at an ability for two particles to share properties regardless of distance in this dimension, and quantum also showcases properties for particles to 'change dimensions'. The storage of information in these hidden dimensions may still have an entangled connection back into this one.

Artworks may be simple enough containers to reveal some clarity of these complex processes in controlled, experiment-like contexts. Artworks may simply be an augmented test tube or photonic laser array setup.

It is the authors belief that artworks may be displaying properties as a type of two-way portal.

3. The living breathing JPEG

Following on from the above assumptions, there is a counter-intuitive idea that the finished artwork is never truly finished. In fact, it may simply be a folder of stored information in this non-local dimension. It is a consistent and stable access point that can be updated and changed. In this example, the artist of an artwork is the primary individual with admin like privileges who has access to the entire contents of the non-local folder.

Most people are simple unaware of this ability, and as such never use the “key” to opening these folders. In these instances, the artworks essentially become non-mutable and are never opened and adjusted at a later date and time. They just become lost in time and traffic.

Resources from other people (ideas, feelings, emotions) can pool into these “folders” that then “stabilize” the experiential quality of a piece of artwork. Historical and famous artworks thus would be more difficult to disrupt and change the contents of the folder. However newer artworks would require less work, and cognizant artists could actively adjust the non-local metadata attached to an artwork, through thoughtful or meditative practice on the works.

In Tibetan Buddhism, the term tulpa is believed to be a manifestation of a deity, spirit, or even an abstract concept, brought into existence through the power of the mind and meditation. The process of creating a tulpa involves intense concentration, visualization, and meditation. Practitioners focus their minds on a specific deity or form, imbuing it with energy and attributes until it becomes more vivid and real to them. As the practitioners continue to meditate and nurture the Tulpa, it is said to gain a degree of autonomy, often developing its own personality and characteristics.

4. A breakthrough in the bottleneck of post-modern art

Art has long been a game of celebrated individualism played out variations on visual style. Most of the dominant forms art movements throughout history - abstract, surreal, cubist, expressionism, impressionism, realism etc. - are explorations of either:

• How we perceive the external world or

• How we express the inner world

It is the authors opinion that the noticeable lull in development of major movements after post-modernism is due to a contextual belief in the West that these are the only two options of expression. The lack of major innovation in movements in the arts, is due to a contextual belief of the role that the imagination and mental imagery play within the bounds of the individual.

What type of category of art would it be, that focuses on documenting information from outside of the standard bounds of access?

This type of art would transcend taste - as it’s no longer dictated by individual preference. Artworks instead become a read-out of systemized novelty - a sort of “radar” that detects incoming ideas which can then be traced and untangled as coming from either here (inside this dimension) or there (outside of this dimension).

Art and science are currently diametrically opposed categories of exploration about the world around us, but they don’t need to be. And the next major advancement of the arts may be to use the intrinsic abilities of the imagination that artists typically engage with, but expand the scope objective documentation one level higher.

More to come

More notes and documentation to come with a whitepaper. Many thanks to VIPAS for the continued dedication to this type of research.