The Unconscious World of Suprematism

Workshop Portfolio

Author

Karim Jaspers

Supervision by

Hélène Aarts

NOTE

R O H AUT Karim Jaspers, Department of Architecture, Building and Planning, University of Technology, Eindhoven.

This portfolio contains the workshop part of the project for the master course ‘The Thinking Eye’ at the University of Technology, Eindhoven.

The purpose of this course is to think and rethink the way space is represented on paper.

All images and illustrations are provided by the author, unless stated otherwise.

June, 2020

C O N TE N T S

TABL OF E

Readin

g Guid

Fragmen tation Zaum Cognitive Construct Natural Dissonance

ograp

Physical Meta-cognition

d Bibli

Pure geometry

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Start of a journey

Evalua tion an

WEEK 1 2 3 4 5 6 7

e and

Theory

READ

UI D E

ING

A Construct of the Mind Art is a production and reproduction of the way humans think.

The way their eyes observe the world and the way their brains make sense of these incoming stimuli. The Neurologist - the protagonist of this portfolio - is specialized in inspecting the neural networks responsible for thinking. He is therefore the master of introspection.

The Neurologist understands consciousness. He is aware of the neural processes and is therefore conscious of all his actions, habits and thoughts. Moreover, unlike any other, he knows how to analyse and manipulate them. He is able to control everything, yet he feels that something is missing.

Following a long period of pondering, the Neurologist knows what to do: travel through the realm of the unconscious. Eager to apply his analytical arguments, he enters the world of pure art - the universe of Suprematism. He finds himself deliberately lost while trying to conceive and connect fragments of unconscious thoughts.

The transcendental trip into thought leaves him speechless.

This whole new universe of perception is euphoric and superior to the original one. He wants to return and share these ecstatic experiences with home, but how is he waking up from the unconscious mind?

RY

THEO

Theoretical Framework All drawings and texts are based on the following literature: Books

Malevich - Gerry Souter El lissitzky (Ontwerpen) - Van Abbe Museum De Khardzhiev-collectie (Russische Avant-garde) - Stedelijk Museum Amsterdam

Cognitive Psychology - Margaret W. Matlin Ons Creatieve Brein - Dick Swaab Manifestos and Articles Suprematism - Kazimir Malevich

Nova Generatsiia - Kazimir Malevich Suprematist Manifesto Unovis - Kazimir Malevich The Theory of Affordances - James J. Gibson Lectures

Zaha Hadid and Suprematism - Tate Talks Zaha Hadid on Kazimir Malevich - Tate Modern

WEEK

1

START OF A JOURNEY

Eye Movement

He steps out of the front-door, wearing a warm jacket and his old walking stick in his hand. He walks along a few streets and keeps looking around. Not because he is scared. Rather he is analysing his perception. His head movements have a large effect on the way he perceives space. Normally, the space would be static, flat and lifeless. But when he moves his head, it becomes dynamic and fluid. This full awareness of the surroundings makes him feel part of the space he is in.

Merely becoming aware of the surroundings is not good enough for the Neurologist. The next step is to manipulate this consciousness and to create a first move towards meta-cognition - thinking about thinking. The final drawing shows an analytical combination between two eye-level perspectives and a plan view.

Snelliushof I Ballpen on paper 15.2 x 8.6 cm

Snelliushof II Ballpen on paper 15.2 x 8.6 cm

Scanned by TapScanner

Snelliushof III Ballpen on paper 15.2 x 8.6 cm

Snelliushof IV Marker on paper 15.2 x 8.6 cm

Scanned by TapScanner

SNELLIUSHOF EINDHOVEN

Snelliushof V Digital composition of ballpen on paper 42.0 x 29.7

Snelliushof VI Pencil on paper 21.0 x 26.7

WEEK

2

PURE GEOMETRY

Insel Hombroich

The Neurologist had difficulties with the full understanding of shape and space. Hence he went to Insel Hombroich a museum with architecture based on pure geometry. To find out more about the origin of man-made shapes and structures, it is necessary to return to these basics.

The design started from the basic shape of a rectangular box. After that, the Neurologist was able to control the many factors, creating different compositions of the same shapes. They were more advanced with each variation, yet he was not satisfied: he was no longer able to study the basic forms. Hence he continued with the basic form of a cube, but then he dissected it to study the separate planes. After analysing them in full detail, he went to the manipulation of these planes. The planes are moved around and inter-twisted on the different axes. In the end, the Neurologist found a very particular shape.

The final design starts with the basic form of a cube.

Yet its planes have curved to create frozen movement (reminiscent of a six-point-perspective in solid shape). The cube is on the brink of explosion.

Study of Volumes for Insel Hombroich Ballpen on paper 42.0 x 29.7 cm

Reassemblage of Basic Forms Ballpen on paper 21.5 x 14.0 cm

Dissection of a Cube Study of Planes Ballpen on paper 20.0 x 11.0 cm

Inter-twisted on Three Axes Study of Planes Ballpen on paper 28.0 x 22.0 cm

Explosion of a Cube Six-point-perspective in Solid Shape Ballpen on paper 42.0 x 29.7

European Projection of ‘Explosion of a Cube’ Ballpen on paper 20.5 x 15.7 cm

Elevation of ‘Explosion of a Cube’ Ballpen on paper 15.7 x 9.2 cm

Perspective of ‘Explosion of a Cube’ Ballpen on paper 15.7 x 11.3 cm

WEEK

3

PhysiCAL METACOGNITION

A Neurologist in Albania

To get to a better understanding of the wild nature of his thoughts, the Neurologist went to the rugged mountain range of Albania. An area without human settlement where he is free to wander around, observing his own mind.

Knowing the structure of his brain, he is tracking these impulses by leaving a trail with his walking stick. The more often he passes a certain thought-path, the deeper it is carved into the green grass and white limestone of Albania.

It creates a neural network on a scale 100.000 times the regular neurons. This network is adapting and growing as he thinks - the principle of neural self-organisation. It is therefore a physical representation of meta-cognition.

The end result shows a man-made imitation of the organic human neurons. It cannot be classified as either biological or artificial, but it is a combination of the two. It shows both the way humans think and the interaction between their thinking and their environment.

Conceptual Connection Ballpen on paper 42.0 x 29.7 cm

Overview of Concept Designs Ballpen on paper 42.0 x 29.7 cm

Neurons in Nature Ballpen on paper 18.0 x 12.0 cm

Self-organizing Settlement Ballpen on paper 21.5 x 16.3 cm

Roaming Reflections Ballpen on paper 28.5 x 22.0 cm

Based on the following songs: Dream Sequence in Subi Circumnavigation - Sufjan Stevens Self-Organizing Emergence Patterns - Sufjan Stevens Sleeping Invader - Sufjan Stevens

Brain Areas become Structures Ballpen on paper 23.0 x 16.0 cm

Physical Meta-Cognition Ballpen on paper 42.0 x 29.7

Neurologist creating a Thought-path Ballpen on paper 16.8 x 11.6 cm

Inside the Primary Visual Cortex Ballpen on paper 17.1 x 13.3 cm

(Di)section of a Cortex Ballpen on paper 17.1 x 11.6 cm

Brain Mapping Ballpen on paper 16.8 x 13.3 cm

WEEK

4

FRAGMEN TATION

Fragmented Perspective

Knowing he can manipulate his surroundings with his thoughts, the Neurologist is loosing grip of reality. He has seen space as a fluid entity, as geometrical precision and as a basis for human settlement. He understood that to analyse space as a true neurologist, he had to dissect it.

Looking at parts of the whole, he can know how the whole is built up from these parts. Fragmentation in his perception can help in creating a full understanding of his surroundings. Hitherto, he used ‘smooth pursuit movement’ - a dynamic observation where the eye follows a line - to analyse the space, but its fluidity did not feel natural. Now, he went on with saccadic eye movement - a staccato form of observation in which the eye jumps from one spot to another. Each part of perception is analysed separately, creating a collage of different planes. This is especially relevant in the representation of massive buildings, in which it is impossible to capture all of it in one perspective.

Fragmentation can be further divided into two subcategories: dissection and explosion. In some drawings the elements are dissected carefully where they still contain their full information. In the final drawings, the building has exploded. The artificial structures are isolated on a white canvas of nothingness and its planes have been abstracted.

Saccadic Eye Movement Ballpen on paper 42.0 x 20.0 cm

Fragmentation Dissection and Explosion Ballpen on paper 42.0 x 29.7 cm

Fragmentation Dissection and Reassemblage 01 Ballpen on paper 20.5 x 17.5 cm

Fragmentation Dissection and Reassemblage 02 Ballpen on paper 20.5 x 17.5 cm

Explosion 01 - TQ Ballpen on paper 10.8 x 7.8 cm

Explosion 02 - TQ Ballpen on paper 13.6 x 8 cm

Explosion 03 - Van Abbe Ballpen on paper (Additional Animation in separate Appendix) 20.7 x 12.6 cm

Explosion 04 - Van Abbe Ballpen on paper (Additional Animation in separate Appendix) 20.7 x 12.6 cm

WEEK

5

ZAUM

Entering the Unconscious

The Neurologist has lost touch with reality and has entered the Realm of Unconsciousness - the World of Zaum. It is an entire new universe, appearing on the infinity of white canvas. The pure geometry is non-objective - it is not based on any object of the outside world. It is therefore different from abstract art, in which real objects are taken and abstracted. The World of Zaum relies purely on feeling and unconscious cognition.

Although the Zaum geometry shows no direct signs of threedimensionality, the paintings of Suprematism are still able to convey space. The non-perspective shapes are placed on an infinite, white canvas, and together they form small cosmoses of pure art.

The analytical mind of the Neurologist craves towards this world beyond reasoning - or transreasoning. The art produced here shows the deep desires and feelings of humans. It is considered to be the only source of pure creativity and art. He cannot wait to explore it.

Zaum: Transrational Unconscious 01 Digital Composition 29.7 x 21.0 cm

Zaum: Transrational Unconscious 02 Digital Composition 29.7 x 21.0 cm

Zaum: Transrational Unconscious 03 Digital adaptation of Malevich’ Black Square 21.0 x 21.0 cm

Tessellated Composition Marker on paper 29.7 x 21.0

Composition 01 Marker on paper 29.7 x 21.0

Red and Black 01 Marker on paper 29.7 x 21.0

Red and Black 02 Marker on paper 29.7 x 21.0

Red and Black 03 Marker on paper 21.0 x 29.7

Composition 02 Marker on paper 21.0 x 29.7

WEEK

6

Cognitive construct

Transrational Translation

After being overwhelmed by the non-objective world, it was time for the Neurologist to return to the physical world. However, even a very simple design practice that of designing a tea set - turned into a complex, theoretical problem. The universe of Suprematism seemed incompatible with the physical world. Nonetheless, how are you supposed to represent an object using non-objective art?

Luckily, the Neurologist had a good deal of experience in the translation between different worlds. He understood how unconscious processes are translated into conscious thoughts. In a similar approach, the world of Zaum could be brought back to reality in a variety of ways. It is a form of cognitive construction.

Artistic Function of Pouring Tea 01, 02, 03: At first, the pure art of Suprematism is to be separated from the earthly functions of a tea set. The Utilitarian Function is the way humans use a certain object - in this case the tea set. Contrarily, the Artistic Function shows the mere perception by the artist of such a function. This function is no longer linked to the object itself, but can be conceptualized into the world of Zaum. The first few attempts show the Suprematist representation of the pouring of tea.

Physical Artistic Function of a Tea Set - Isometry, Elevation and Overview Isometry: However, the previous results were not satisfactory: the drawings still seemed like a mere representation of the physical world, although a more conceptual one.

The Neurologist went further by creating actual threedimensional objects, still without any utilitarian function.

This drawing series show the Artistic Function of a tea set.

The cup of tea is a completely solid cube, without any openings, but with a hollow core that is holding tea. It cannot be accessed and thus it only represents the containing of liquid inside a volume. Moreover, the tea set shows some resemblances of handles with which to grasp, but they are not practical or functional.

Set of Tea 01, 02, 03: This series shows a different approach, based on the works of Suprematist artists. Their non-objective art was often too difficult to understand for the public and even for some critics.

It was illogical to make a painting that did not represent anything of the physical world, but was merely pure art as it is. That is why the Suprematists sometimes titled their nonobjective drawings with an objective name, to give the viewer some guidance on how to approach these works of art. It becomes more accessible as the imagination by the viewer himself is activated, and thereby the unconscious connections between shapes and subjects.

Tea Set 01, 02, 03 (final design): The final design of the set of tea shows a sequence of Suprematist drawings, each demonstrating a nonobjective composition of the Zaum geometry. However, unlike the previous drawings, they carry an objective title ‘Tea Set 01’. As the Suprematist drawings follow the illogical transreasoning of the unconscious, viewers can now connect their own unconscious perceptions and concepts of a tea set to these compositions. In the end, they might find resemblances and connections between the two worlds, without the artist’s initial intentions. The drawings therefore construct a bridge between the transrational universe and the physical reality.

Artistic Function of Pouring Tea 01 Marker on paper 21.0 x 29.7 cm

Artistic Function of Pouring Tea 02 Marker on paper 21.0 x 29.7 cm

“The Artist does not design the functional aspect of life, but his perception of a function of life” - Kazimir Malevich (1928)

“Art cannot be applied to or combined with utilitarianism” - Kazimir Malevich (1928)

Artistic Function of Pouring Tea 03 Marker on paper 21.0 x 29.7 cm

Studies for Translation of Transrational to Physical 01 Ballpen on paper 42.0 x 29.7 cm

Studies for Translation of Transrational to Physical 02 Ballpen on paper 42.0 x 29.7 cm

Physical Artistic Function of a Tea Set - Isometry, Elevation and overview isometry Ballpen on paper 21.0 x 29.7

Set of tea 01, 02, 03 Marker on paper 21.0 x 29.7

Tea set 01 Marker on paper 29.7 x 21.0

Tea set 02 Marker on paper 29.7 x 21.0

Tea set 03 Marker and pencil on paper 29.7 x 21.0

Tea set 04 Marker on paper 29.7 x 21.0

WEEK

7

Natural Dissonance

Primary Human Affordance

The previous study showed that the translation from the world of Zaum to the physical world was problematic. It was only through the subject and title of the drawing that a bridge could be constructed. Now it is time to create a deeper connection by implementing the entire Suprematist universe into the natural environment. The Neurologist returns to the rugged mountain range of Albania.

‘Under Suprematism I understand the supremacy of pure feeling in creative art’ (Malevich, 1927). The appearance of Suprematism is solely based on the unconscious feelings of the artist, but why then is the ‘zero point of painting’ Malevich ‘Black Square’ - a square? All Suprematist compositions are based in some way on the straight line and the square, a shape that is nowhere to be found in nature. It is therefore purely a construct of the human mind.

However, this statement is not entirely correct. The straight line is indeed conceived by the human mind, yet it is based on the interactions between humans and environment - the affordances. The straight line is the most efficient and easiest to use tool by humans to navigate, to create settlements and to manipulate the natural environment.

The Suprematist geometry is therefore not solely based on human feelings. Rather it reveals the manipulative nature of humankind wired in their unconscious mind. The Black Square signifies the primary human affordance with the natural environment. The following drawings illustrate the natural dissonance between the unconscious human mind and the environment.

Natural Dissonance 01 Marker on paper, digital adaptation on photo

Natural Dissonance 02 Marker on paper, digital adaptation on photo

Natural Dissonance 03 Marker on paper, digital adaptation on photo

Natural Dissonance 04 Marker on paper (Additional Animation in separate Appendix)

Eval

uatio

n

Suprematist Human Order Malevich’ Black Square is often seen as the ending of painting, but it was merely the beginning of a new era. A new artistic order has arisen by his Suprematist mindset: an order of pure art conceived by human thought. The non-objective universes that emerge from these thoughts are to be superior - or supreme - over any other type of objective art that merely tries to imitate the natural environment. They become a new reality, entirely conceived by the human mind, and ultimately detached from the natural world.

It can therefore stand as the symbol for the first man-made settlements and the continuation of human ignorance and dominance on the world. The Black Square signifies the moment at which human beings became masters of their world.

However, this purity of the human mind cannot go on as it is abusing the environment and therefore the habitat of humans themselves. The natural dissonance between the construct of the mind and the structure of the natural world is polarising. Two options remain. The first option is to continue the Suprematist human order by controlling and dominating the environment and everything in it. Humankind will influence every aspect of climate, every detail of nature. A total dictatorship based on suppression.

The second option is to acknowledge human inferiority to their universe and let go of control. A symbiosis between humankind and the natural environment will exist.

However, the mastery of manipulation is deeply rooted in the unconscious mind of humans, as the Black Square by Malevich demonstrated. So, it seems that the first option - even though it is rushing away from the natural world - seems to be more natural.

Bibl

iogr

aphy

Catalogue of Sources Books, articles and manifestos Basner, E., Bremer, T., Imanse, G., Van Lamoen, F.,

Meylac, M., Sigey, S., … Ostrovskaya, A.

(2013). De Khardzhiev-collectie - Russische

Avant-garde - Stedelijk Museum Amsterdam.

(G. Imanse & F. Van Lamoen, Eds.) (1st ed.).

Rotterdam: nai010.

Gibson, J. J. (1986). The Theory of Affordances. In

The Ecological Approach to Visual Perception

(pp. 127–136). Boston: Houghton Mifflin. https://doi.org/citeulike-article-id:3508530

Swaab, D. (2016). Ons Creatieve Brein - Hoe Mens

en Wereld elkaar maken (3rd ed.). Amsterdam:

Atlas Contact.

Lectures Haciyeva, Z., & Hadid, Z. (214AD). Zaha Hadid and

Suprematism | Tate Talks. Tate Modern.

Retrieved from https://www.youtube.com/ watch?v=GF_qPKnrrHo

Malevich, K. (1927). Suprematism. Retrieved from https://monoskop.org/images/5/58/ Malevich_Kazimir_1927_2000_Suprematism. pdf

Hudson, T. (2014). The Russian Revolutionary:

Zaha Hadid on Kazimir Malevich. Tate

Modern. Retrieved from https://www. youtube.com/watch?v=yye33DucQvw

Malevich, K. (1928). Painting and the Problem of

Architecture. Nova Generatsiia, 3(2).

Retrieved

from https://thecharnelhouse.org/2014/03/ 12/suprematism-in-architecture-kazimir malevich-and-the-arkhitektons/

Songs Stevens, S. (2009). Interlude I - Dream Sequence in

Subi Circumnavigation. On The BQE [CD].

Holland, MI: Asthmatic Kitty Records.

Matlin, M. W. (2014). Cognitive Psychology (8th ed.).

Singapore: John Wiley & Sons, Ltd. Milner, J. (2009). El Lissitzky - Ontwerpen. Woodbridge,

Suffolk: Antique Collectors’ Club Ltd. Souter, G. (2008). Malevich - Journey to Infinity (1st

ed.). New York, NY: Parkstone Press International.

Stevens, S. (2009). Movement II - Sleeping Invader. On

The BQE [CD]. Holland, MI: Asthmatic Kitty Records.

Stevens, S. (2009). Movement V - Self-Organizing

Emergent Patterns. On The BQE [CD]. Holland,

MI: Asthmatic Kitty Records.