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In the emptiness the forms do not only appear next to each other, but also after each other and thus the three dimensionality matter is being well-founded. The force that expresses these principles in these dimensions and that shapes them, arises from the duality of matter and from the interaction, formed by the third power.
Through the passion of those people, through their thinking, will and desire, because the worlds of these dimensions are accessible for thought and for the analytical approach, that is based on their three-dimensional nature.
Thus arises upon the originality The Creation of the Free Will" , avoiding the intervals, in complete reality and imperishability, extending itself, mutating in its changeability, multidimension in infinity. It forms part of it in its sovereign reality in universe, the appearance of the sea town. And who wants it, can see it, and seeing it, guide himself towards it, and erect it in its three-dimensionality, and apart from this, he will, in any case, defend the cause of this town.
The idea, that
beginning and the fulfillment, focalised itself along the cosmic axe on
the reliable place. It reckognised itself, caught itself and thus
the beginning of "The Creation of the Free Will"
The picked up earth flows slowly between the palm of the hand and the fingers, as fine granules, in an absolute gesture, in one slow motion, on one and the same spot. From out this action arises the idea, which gives form and figure to the formless matter and which is becoming the cause of this manifestation. In spite of the temporary structures, which are formed around the created ownness, the Idea always returns to its origin. If we want to experience this work of art, we have to know that the notions and concepts of the reliable three-dimensional world of the senses is now being crossed. We are making our way to the fronteer - and cross it - of the sensorial world of symbols and structures.
This work of art is continuously altering, and its manifestation is continuously altering, so that the degrees of the angles with respect to our power of perception continuously differ. Which of these perceptions, we wonder, is the right one? Which of these images gives us the exact reality? Is is chaos?. The only thing that gives us certainty is the returning line. When we ascertain this as a fact out of this variability, we remark that this line is not static, but that it moves around a steady point. This is the own-ness of the incident of this work of art with respect to the observer. When we want to examine/ experience this own-ness, we get an experience of a different time and space as a relative notion. These relative notions and concepts have to be abandoned. We are getting included in the Idea and we experience the transparency of the different own-nesses which compose the work of art.
This work is a beating process of poetry and science, a creation of rhythm and movement in a continuous alteration, in its parts (the "SITES") which form at the same time a whole (the sum of all the sites), - one in its totality-, and which have at the same time a function on their own as seperate works of art. This is a total, transparent, monumental work of art in the multi-dimensionality which is, was, and is becoming alive, thus determined by the author. In the separate identities (sites), all the proper things blossom abundantly, namable, always returning to their origin and forming part of this monumental work of art:
1. THE MIDDLE, the Father - site, situated in Llauro on the Coll del Puig, P.O., France.
2. ILICITIS, The Mother - site, situated in the Campo d' Elx, Province of Alicante, Spain.
COLINAS, The Son - site, situated in Sucina, El Alto de Los
4. GRACIOSA, - site, situated in San Lucar, Province of Huelva, Spain.
5. CRETE, That which "refers". This site is situated in Crete.
6. CORSE, the Creative.
EL KEBIR, The geographic Forming Power, situated in
In the past, in
civilizations, buildings and towns were often placed on well determined
spots. It appears for instance, that temples, cathedrals and pelgrim
were situated on power lines or power crosslines. These "points"
are mostly characterized by an extraordinary topographical and
ILICI and ILII:
on the western plane of the second pyramid, exactly in the middle of
diameter from the basis to the top. From this point (Universidad), a
line starts on the diameter of the second pyramid (the line starting
the top to the middle of the basis plane) touching in the spot of the
While in the first monument (Ilici) we can talk about a
and in the second monument (Ilii) about a four-dimensionality, we get a
multi-dimensionality in the spot of the ownness U.N.E.(Universidad
de Las Colinas).
The ownness of
Ilici - Ilii
is concentrated now in the different sites in the "heaps".
When we consider
not in a two-dimensionality, but in a three-, four-, and
the Mother and San Lucar will be found on the east side of the
The energy from the Father to Llauro results in geographic Forming Power. The forming power runs across, down to Ksar-El-Kebir and Crete on the basis line of the triangle, where it spreads. The work of art can best be experienced in the Father and the Son. The lines, triangles and pyramids result from a whole and form part of it, according to the dimensions, in which we try to express the work.
Letting flow the
granules slowly through the hand palm and the fingers, on a determined
spot, is a human gesture fromout the intuitive intelligence.
It goes without
the here represented pyramid is only a symbolic representation of
which geographically spreads over parts of Europe and Africa. The top
the great pyramid and the perpendicular, dropped from there , is
on the 10th degree of longitude at 1.559 Km height.
"Corse" lies at
729 Km height
in the great pyramid. They are all in the ionosphere. The own-ness
lies in a well determined dimension and is the full expression of the
of art, that is created by the moving Logos in the diamond
creates the 3rd pyramid.
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