EXPERI
,
N;rA'IIO
- PAINTINGS ~ DRAWINGS, DRAFTS DESIGN, COI:.LAGES, " PHOTOS "..... 0' • •
•
., -.....
.
_
LOR ENTIN
FLORENTIN S
ACHE
OUTER-ART
Experimentation in - pa1tings
- drawings, drafts - computer design, collages, photos
100 coloured - 15 black / white pictures
ABADDABA 2000
Ultra - modernism ? ExperimcDtum crucis. What follows after post-modernism: ultra-modem art?
I wou ld say an gra ti a eX-Artis. this is to be the state of my "outer art":;' Por que ? i Por qu e DO ! h seeliL~ thai I am an anti-talent to drawings and pa' tings in a traditional manner. I evCD disregard this kind of art, J;ch can easi ly be replaced by mechanical reproduction.
Th=forc, I gathered nearly a quarter of my "anti-art" art-work done in Turkey, USA (here I got in touch with tbe straight an, in brigbl basic colors - yellow for the SUD. blue for the sky, red for the fire, and black for the nigh~ somehow naive, of Navajo, Zuni, Apache, Hopi ..d Pima Indian tribes), and Mexico, between 1988 - 2000, in a paradoxiSl way: " , lor /'. Don-palbog n " s sa ke - panmg - not drawings. b ut our every day's scribblings
- pa~ting overlapping anotber pa~ting - found art in the wasting basket of the an
- fine ugly an - para-an and contra-an - art without an
- scientific an. All oflbe above procedures become, after a period of maybe sbocking time, 'oo!llllll' (please read 'traditional') art. Which later wou ld be classified, in their tu~ as supcmuated. And again they come back to life wi~b a '"nco" prcfix art. because an is cyclic.
Let's catch the paradoxism in an - an avaote-gardc movement I set up in 1980's, which is focusing on contradictions (an + antiart/Donan), bctcrogenity (an + science), innovation (Dew species of art). Or savoir faire un chef-deooD-oeuvre. whic路h paraphrases a French maxim: to know bow to make the unmakablc. Or an eelare DOD路 artem, wich runs counter a Latin adage.
Let's revo lt against petrified "classicized" an, and figh t fo r a New An World Order. And I would like to end with a
avajo language greeting, to sec you next time: HA GOO?\r拢H !
The (Non)Artist
ABSTRACT LANDSCAPES
•
•-
\ \
4
•
•
•
t,
A,
•
•
5
~"" •
,-\:
~
•
• •
-
•
•
6
-
.~
•
•
-
I
, ,
,
-
,
'~ \~ ..... ".
•
,
,
.
"
~ ,
') ....
,
'.
"
'"
•
-:..
'. .,
:
. ~
•
• ,
"
,
7
•
,
. ,
.. '"
of
•
\
, I,'" .\
,.
, ~
•
-
"
-
8
..
~.
.
/
•
9
10
11
•
• .... ...J'
•
•
• •
• •
•
•
•
•• •
• •
,
•
•
ft · t ••
•
(
t
t'
,• •
~... • .~
•
•
•
...•
•
•
?
•
, ~
/
•
•
•
.
-
-
. I
•
-
.- --
•
•
• •
•
• 12
13
,
•
,
,
I' •
•
•
• •
,
• 14
• 15
• 16
EXTRA - FLOWERS
•
• 18
•
,
•
•
• ,
•
• 0
- .•'
•
•
•
,
, •
•
• ,
•
,.
0•
•
I
I •
•
•
•
• 19
•
.. •
•
.4 .'
..
I I
• j\
•
',.
,•
'j
•
•I
20
••
I
\
,
-
"
\
-
.,
•
• 21
• ,•
•
•
••
-
C
o e • . . . . . . . . . .. ... .:
•
•
•
•
•
•
•
•-• '.
. •
•
•,,
-
•
•• . . . . . . . ••... .
-
o •
·
,
•
"• •
.... .... . . ~ . : . . . . . . .. •
• •,•
••
•.
•
.If· " ~
• ,? . . . . . ....
,. •
. ~
- ; ~
•
•: ~
,
. . '.. .. .. -
•
•
•
,
•
" , ~.
•
•
-,
.
•
•
•
•
•
,
. . . . . . . . . . · ... •
•
'
•
-
•
••
•
• •
•
O~
•
•
• ..
•
.• -
" :; .
•
•
"
.. o.
•
o·
•
~' - . ~
. 0
•
•
. --. , • _... . - .:. .. •
•
•
•
... . •
-
~
•
•
,
•
oS
•
•
•
•
••
••
..
•
)t . • •
"'- .
•
•
•
•
•
-'.," • ..-. ' • • " ... . . . ..
•
•
•
•
.-•• •
o
•
•
•
• flO •
. . . . . •
•
•
23
SUB
E COUNTER - IMAGES
•
25
• 26 " -
OVERPAI NTINGS ("Kacbjna, tbe Great Spirit of Indians")
28
-
-- --
•
'.
•-
• , ~ • 'z ~... ~
.-c
~
•
• 29
•
•
,
'.-,
,
-
•
•
-
1
r •
•
1 •
- '"•
,
,•
•
"
-
30
.-,t
,
•
•
."
• • •
:
.
•
•
• 31
• 32
•
•
• 33
•
•
-
-
•
•
•
•
•
•
•
,
• •
, •
--
•
34
.
: •
-
•
•
•• •
•
•
-0.
•
•
35
36
37
38
39
GEOMETRISM
'. 41
42
43
44
45
46
47
• 48
49
SNAPSHOTS
51
.. 52
•
53
54
•
55
56
seRI BBLINGS (Ante-Art & Post-Art)
r
•
•
•
..".,..'_r " . oJ'
-.; ·n~ • •
•
'.-,
• 58
, •
59
l'r I 'f
•
, -•
•
, •
,
.•,
• I
! I
60
61
•
•
-
. ' .- . ' •
•
-
. '--:..--
-' -- •
•
•
•
•
-
·,
-
. "*~
•
~
~
~
~
•
-
, - ?-
,
, . _/'
-
,
"_?
•• -'
-,
,
-
,
"
•
.s-
~
• •
h
•
'" .I
,
•
,
/ .
.."
J
,! I . .;•
,
:Cr"
""';;- ~
~
~
•
,;
.-
, ,
,
•
'I 'Vi
/ •
•
;tx~·
)
I
I
,
•
I
~
•
\
I I
~
• ·1
•
•
~,
,, I
•
•
\
...
,f
,
\
~
~
•
•
•
\
I
,
.,
\.
o
.
....
•,
....../ -1 . j.
•
I
•
•
/ .'
, , ,I
• /
••
-
• •
•• •
•
• 62
l •
•
63
-
,.
....
"
~
le...::t
_ ~t:
••
,
~ 4; r , l..~ ~ . ':-'~~L . /' " d .. i:t..:f:./ }
, •
\ \ .
, ( "
•
~-- .. f.
• •
J
64
----....-
.
•
5
,
(
•
•
I
~t
" '!"
I
"'J'.1-, trl , ,.31,
tr~/~ ~3, !. tJ I 3!/,
~'I
'11").
.. ... ,
• __
,
_
65
•
-•. '
•
I.
66
•
•
•
\
•
•
67
•
•
68
-
• ,
,
•
-,
...
.~
~-•
'.'
,
,
• •
,
, 69
• 'L
•
, (sf"
a. ... ••
•
.,
anql t< e u$ 1nq t.he
~C
cos 8 -
CD S. C. D.
••
None of the above .'" I
•
(5)
.)
Evaluate ang l e
e
70
to
<he nearest. thousandth of a
"31
1.1
1:
~
I 1 20 1 20 3 40 1 20 I
I 20 >40 H2O >4 0 20 1
\
I 20 I 20 340 20 I 442Q 340 34 0 20 1 4420 3 9180 4420 >40 20 1 )9790 198900 397 80 4420 340 2 0 1 44 20 3 9180 44 20 34 0 20 1 34 0 4420 340 20 J 20 340 20 I J 20 1 I
I
I
•
I
\
_.;;. 01"" ,
~'..Je~~-,;2i-A
•
r
~~
.e- ::..- - =-
i-
-•
y-
j
-
1
'l-
....
~
•
,
=:::;.;:::: , fJ ~
'.
ro,,, -"'0k' .",!a
J.L
L
N ,
d -J
P I~ - JO..I:I' 4J8"- '~ ~
• 7
~;-;---.l; , 1~ ~
I
i
I n>*.d :
I
71
.;;.
~
/.>-
z
,
x."
. . - U:-M ,..., ,.k.
'J" - -
- k " U)
_ J,.Jn- "a""
6 11' ...... - ,t.,,?! .,.
'/
Iii , 1
.(1,
ill
?
'to
I
",J-'j
\
,
1 ,
' J.Ii'J,.:.. ~
( ~ -k /
""''' -Ij.J.I 0..0.. .l- rk,j>. '.I<u-
~)
c,..t...t
--
--
72
• •
I
In
'$).1<71 " 1ft I~ If; 11i1l> /Ill ", IF/ Ki t. 1.1, l?1t
u ~ 11 ~ l/f: l"
l'r' t · l. l'1 r k/
11/ n'/t sI,. ,I'lS 17' 'ro m
I"':~tk ~~c;'
,<>,
•
'-I.
I
"1,1
•
.> ...... ," . I"'" .. t" ~. ... ..~ ......'"'zn,.. lJ¥lJ,t "•
'. : ~
.
'Pi
21-J~ J I 5 by
floftDtiro S..... ..... • + t ICu Jcrq, ROOIoUlW
and...,
poA~ It'1 7sa " • > 1 P' a.hc Pw hUN .tO ' l .• . • .., .... JlP, ILt1 Aoi ' ~ 1(-• •) • (_ - Ir will. the "re ""I
For
11ft)'
1
~~tl'Ulm 1.'~l"'t1?j_
J"yI:f" .)1.... "
J~~") S)'.40 11'1 fn. A cm d-. _ .... .41 andurwtIt" pte;: 21 #1 'IIJ /J n. Jo..T ~ "'~UIJ4, he> h~ J1t I b' jl: ~I \or, 1"kt(-. .) bBI pm ),,? 01 ".M Ihi k I II: C l' Sc.., TOt!:. 1t'1 "1 JrJ. "}1( JfS" .. '10'1 JrJ " nt IoSaIotI \0'1'1. ""'7"'' ' " .,,~~~~ \-"'''~ f.n, 't 1l 'r t.... "1'1.} Tl'r; ~:..~.L ~ ,.... l1h.o V). ' 01 'rJ..! 'rlJ n., tlS 'fA ~"'lf 'f'k" ",," \o-';,J.~ ~]oR Yo) r~ or , ~ 'r» "tu fliS kJn . "" ~6or ~ tn "n "~>n 'rr} HI 'to 710 'r?, -;- ~ (1 --"" tk" ~fy 't11 ..." S'tIo "I, '111 'l'r:>'!' ~ ., IS' 'r& ~
t'.. !:J 1:: \41 "-1.S4,
::.tili
"s.
""t',- n . J"""
'r"
"'11"'"
•
-
.. .. ..1
I
J
•••
•
..
• •• •• • •
•
•
•
I ,
'I
----
•
\
., ,
••
•
•
,
•
•
•
••
--
-•
• 73
L r L (
C •
,0, r
(
~
~ (,
,•
I I I u• •• I C I I I I I c
v
••
•
,.• (
'-
~ fI t ,I j I I
(C;IC~~
I I I I I C I
C
• •
i I
I
L
I
\ (I
I I
~
I I
I (
I 0
1
-'!
'0
1
1/• c .... •
CUt TEND
: ...."'P<TC101A.. TA)! PAIr l at 0tAt1G£
I(
~ (I
/I oo()/f, ,/
• h, of4 -. "" , " Mf"
,
+/1 "
,..~
.r. 1-
~/I-:.~.~ . • - ~
c ,! I ~
•
(;
6 I
4 q
I
•
- --
.
,~
\.
'1-' ~.,
-=- (0 •
=In
'~r t,
,
.--
r
•
•
74
•
I
...
•
, •
75
.
,
. '-
•
•
- -' . •
0:
••
- -
r
~ I \,. !
-
•
l
,.. •
t)
'" •
,
)
1/
•
•
•
•
,1
,
) I
'.
I
•
-'
76
n
/7 I
n
•
I? - •
1 - 1' .
-
I
•
6'
r
- ' ,.-- --
.-
(
J!'J1 1\'. ,
(J
.
/7 :;
"
~
•
,, . •
• I
.
I
•
'.
:\ ... -f
77
r
Y>_ .
l- _ 11~
0
r /",u ::
•
"
.
•
•
-. ." ....... ,
~
---
• ::::::0 ,
,
•
., '])
- --
'II
•
-
I
~ ~s
f,' /
j
)-~
, •
•
. 3.1:,.
-g- ,...•
•
78
•
I
I
-
I..{-f- . •
(
,£
,~ }'
-' 't {)r ~
•
--
.) ,
- 1" .- ,
•
.' [ '/
tJ
<Jf..
.
D
•
-
•
\ ,.
--
,
\ •
J
,
' -I-b
'" ,
•
d "J (",
,A
79
'vb
\
( ) SYIJ 4BVS
•
( ) OIHER
( ) TEST .....Wb;'_
INStRUCTOR:
() ()
'.
I.
!.
1.
,
SPEC(AL .
- -•
-
. .'
omCE USE Om. Y. WORK DONE BY:
80
DA'ffi::
,
,<
" •
•
•
81
-,
I
•
,
•
•
,
•
82
-
-
b
,
J., -. '
. . . . ,-.
•
,
"
•
J (1°,1 : /00-1: : / "0 G: lo~ ; ,lou
'I'
5'
• /
!
, I , _'
7
-c." -
•I
Ja
10-
• L
tl"J I-IJ3
I
YS
/Z)7.e:j J
c:.
1
col, . _
a (} 0 •
--
83
.
' 1= I ~ ':J
tan : Df ,?"
,
o5(
,,' Yo ~'
:J'-' .~.
I. '
-.
,'"
.~
t-, .,\
L
;) ,
i
84
•
n- I
"
•
•
•
,
•
• 85
.... - •.\
~
...
"
--
•
~
•
'. \
t 0 /
I
03r-' I
•
•
•
86
-
-
•
I
.
=
m
I
I •
•
I '
.
·h -
• •
, ...
~
•
87
CAL DRAWINGS
•
"
\
I I I
I
•
,I
•
I
\
I \
-89
-_ M ' _- -
,
I
/
/
/
/
..
o
o
,
• •
0
,
I I
-
I
°0
I
x •
--90
II
\.0
,-
-----
1
•
~
)
F
_
~
-_.. _"." .... -
I
, LLJ
::c
u
~ Z
<C
c:::
91
ANTI-DRAFTS
,
,
•
•
- -
•
...
••
-
-.-- - --
-
•
•
---
-
-- --
\
•
•~-
--
•• -
• ~
••
-', •• •• •• • -•
-
-
--
-
-
•
- -
93
--
-
-
-
,
\ t
-'.
---
-
•
-
,~
--~
-
-
-
..
•
•
•
• •
b ;:
•
•
. ,,1G.
•
-
. -- ;- _. •
•
•
•
• •
-
-
•
-c1. •
•
:: -- - .
T."":":"
•
95
•
'" !
,,,, .-'
~< ~.
-
_ (. + '- d
9)
. -/
, ' -,
, . " , , .. , " -. y~ ;/ " ,
- ~"
.
h:" 1
'
c
'
••
'"
.,
... , ,- ..
i
'
I :.
.' .
'/
",
--/
I,
~
-r ,
r ,
,, ,
,
'
-;f
, 10'
/
s
"
"
, II , b
-I
1:..1
•
~
,
~
c
14
,
.,•-
--- ---'
I,
r
c-
,
\
_
~ H'
-J,Y\ b -
,,
J.. -
,
" _16
7t C~J [eJ THE UGLY,........OF ,
96
-4.-
~,
,.,.
II
, , -' i
~
,S 11
PARADOXIST DRAWINGS (double sense)
- -
98
..
-f
99
•
/
.
~
100
. ~
"•
•
101
•
•
,
102
BAD DRAWINGS
•
104
105
---
--
-
-
-
,
106
, •
I
•
107
NON-DRAWINGS
, •
•
•
•
--~/ -
•
• . ........
109
L
/
•
·
o
•
}rh'
/
110
<J f<
•
, ~I
--vv- ,.,. . ( ('-"c,
~
)
.£,;f
-hi
v
/ifJ I
Y'-'
<tV
~7
, J~r J- ~
(1,
"
"
I 111
•
•
•
fll
,- I .1
_..... J
"
: ~I
I
I )
UH
i
-112
•
,....
II
-
-- -
,--_0- _
-
-
-
,-- - -
----:---;-,- - -
- -.-
113
_ __
--
)
•
•
•
1 ~
- .,-,H-,- _-,-;'_ • I
I
1
Hr~
•
I
,
I
/
I
)
114
COM PUTER DESIGN
116
117
118
119
SEMI - COLLAGES ("Neutrosopb.ic Life")
H! ' - •
-
121
,• -
,
,•
••
•
;1
•
/
,;
•
122
123
124
I
I
I
I
•
125
SUPER - PHOTOS
127
128
129
-
•
130
131
132
Contents:
ABSTRACT LANDSCAPES ( 1-13) : 3 EXTRA - FLOWERS ( 1-6) : 17 SUBMARINE COUNTER-iMAGES (1-2) : 24
OVERPAlNTfNGS ("Kachioa, the Great Spirit oflodiaos'') ( 1- 12) : 27 GEOMETRlSM (1 -9): 40 S APSHOTS ( 1-6): 50 SCRIBBLlNGS (Ante-Art & Post-Art) (1-30) : 57 MECHANICAL DRAWINGS (1-3) : 88 ANTI-DRAFfS (1 -4) : 92 PARADOXIST DRAWINGS ( 1-5) : 97 BAD DRAWINGS ( 1-4): 103
o
-DRAWINGS ( 1-6): 108
COMPUTER DESIGN ( 1-4) : 115 SEMI-COLLAGES ("Neutrosophic Life'') ( 1-5): 120 SUPER-PHOTOS (1-6) : 126
Prmtal iD Roo路mlJ!ia
ABAOOABA P'IIbIW!.i!l1 11auK Tddu: ~9In7'92
&-mail ... 路1d路1w..@ldwt.ro CompulCf 4cs1p ; Tbco Vin
ISBN 973-8102-00-'
Florentin Smarandatbe got a M. St. degree in both Mathemarks and ComputerSdence in 1991, and a Pb. D. in Mathematics in 1997."e published 42 books in matbematics (number tbeory, non-euclidean geometry, logic), philosophy, literature (poems, short stories, novel, dramas, essays,
translations), and art (experimental drawings, paintings, computer design, coUages, pbotos) in Romanian, Frencb, and Englisb. In matbematics tbere are several entries named Smarandache Functions, Seqllenc:~ Constants, and Paradoxes in international journals
and encyclopedias. He generalized tbe fuzzy, intuitive, paraeonsistent, multi-valent, dialetbeist logics to tbe <neutrosopbie logic> (also caUed "Smarandacbe Logic:" in the Denis Howels Dictionary of Computing, England) and, similarly, be generalized tbe fuzzy set to the <neutro,ophic ,et>. Also, be proposed an extension of tbe classical probability and tbe impred.. probability to the <neutrosophic probability>, tbat he defined as a tridimensional vector whose components are real subsets of the nOD¡
standard interval 1'0, 1+]. In philosophy he introduced the <neutrosophy>, as a generalization of Regel's dialectie, ... hleh is tbe basement of bis researcbes in mathematics and economics, sllch as <neutrosopbic logic>, <neutrosopbic sep, <nentrosophie probability>, <neutrosophic statistics>. In arts and Iiteralllre be founded in 1980's the avant-garde movement called PARADOXlSM, whicb has many advocates in the world. It is based on the excessive use in artistic and literary creations of contra¡ dictions, antitheses, antinomies, oxymorons, paradoxes. both at the smaU level and the entire level of the work - making an interesting connection
between matbematics, pbilosopby, and
~lerature.
He introduced the <pa-
radolist distich>, <tautologic distich>, and <dualistic distich>, inspired
from the matbematical logic. Literary experiments be realized in hi. dramas "Country of the Animals", where there is no dialogue!, and It An Upside-Down World", where the sreoes are permuted to give birth to one
billion ofbiUioDs of distinct dramas! In 1999 he was proposed for the Nobel Prize in Literature. But art was for Dr. Smarandache a hobby. He did: - graphiC arts for his pub~sbed volumes of verse: "Anti-chambres! Anti-poesies! Bizarreries" (mechanical drawings), "NonPoems" (paradoxist drawings), "Dark Snow" & "Circles of ~gbt" (covers); - paradoxist coUages for the" Antbo-
logy oflbe Paradoxist Literary Movement", by J. -M. Levenard, J. Rotaru, A. Skerner; - covers and iUustrations of boob, pubUshed by "Dorul" PubL Hse., Aslborg, Denmark; . illustrations in the journal: "Durul" (Aalberg,
Denmark). Many of his art works are held in "The Floreotin Smarandache Papers" Special Collections at the Arizona State University, Tempe, and
Texas State University, Austin (USA), also in the National Archives of Valeea and Romanian Literary Museum (Romania), and in the Musie de
Bergerac (France). Ue contributed to SO scientific journals, and to over 100 literary and artistic journals from the world map. â&#x20AC;˘