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Thoughts on my art

I LIKE THIS -  as that is what's happening in  may art as well -  making seemingly invisible realities, or aspects of universes/multiverses slightly more visible

If the universe is just a Matrix-like simulation, how could we ever know? Physicist Silas Beane thinks he has the answer

The idea that we live in a simulation is just science fiction, isn't it?
There is a famous argument that we probably do live in a simulation. The idea is that in future, humans will be able to simulate entire universes quite easily. And given the vastness of time ahead, the number of these simulations is likely to be huge. So if you ask the question: 'do we live in the one true reality or in one of the many simulations?', the answer, statistically speaking, is that we're more likely to be living in a simulation.

What did you discover?
In our universe the laws of physics are the same in every direction. But in a grid, this changes since you no longer have a spacetime continuum, and the laws of physics would depend on direction. Simulators would be able to hide this effect but they wouldn't be able to get rid of it completely.

How might we gather evidence that we're in a simulation?
Using very high energy particles. The highest energy particles that we know of are cosmic rays and there is a well-known natural cut off in their energy at about 1020 electron volts. We calculated that if the simulators used a grid size of about 10-27 metres, then the cut off energy would vary in different directions.

see rest of article link above


These are thoughts I exchanged with a friend from the USA I have corresponded with for many years. They may assist in being a doorway or window to my work. But, more than that to serious art, the work of great composers and the creative frontiers of all discourses or socio-cultural practices, for example mathematics, theoretical and astro-physics, etc.

Thanks david,
I post something that one viewer - she is 60 - responded on facebook  to one image.
She always responds with something more than all the usual fantastic etc - as she tries to put some of her response into words.
  • Marti Forkner-vernon I don't know how it is that some of your images are so familiar to me-a minute glance, into (I don't know to describe it?) transformed to canvas, sometimes comforting, sometimes not, but a part of time that is larger than the exposed surface. I especially like this doorway and the freedom beyond. Of course as a viewer, I interrupt the meaning to me.

  •  interpret....(never write from a blackberry), but interrupt does define the pause that the painting causes, when it renders me speechless..
    I try to reply to her - but without the same frame of reference (That you and I share quite a bit of, it is impossible),
    I especially don't want to use anything religious/spiritual - for many reasons; but as many would be offended by misinterpreting what I try to say - as they are from all and I suppose no religions.
    Here my attempt at a replyto her - in the end all I can say to her, look at Palmer and Redon.
  • Ulrich de Balbian Thanks marti for a very serious and important statement. A friend of mine in the US also descibred what he senses when encountering these images. First of all of course there's the practical level of techniques - they were developed over a long time, so that's out of the way. So what has to be expressed is expressed without those restrictions. But what it is about? Are there other realties, or as astro-physicists call them multiple universes (all with different space and time dimensions, foreign to human thinking; and even those without space-time dimensions). Do art, painting, music of the great composers, like theoretical physicists enable their expressions? As the philosopher Wittgenstein and Einstain said: when all is said and done in human words, expressed in human concepts (that are always determined by restricted human ways of thinking, limited to space and time) - then there is 'mystery'.
  • Ulrich de Balbian Sorry, when in the middle of something Facebook already cut me off and sent the message. Perhaps my paintings (like composers, etc) touch on some of those aspects of other realities, dimensions of other universes (or mulitverses)? I have not got the explanation. I can only try to assist by statements from others. Paul Klee said that he is as much part of the reality of the living as of the dead. Do my art sometimes make some of the invisible (to ordinary human thinking) visible?
  • Ulrich de Balbian Sorry, facebook said it again. Apology for lengthy, wordy response - but I try to express/convey my own bafflement before my work - why am I driven to paint and like this, as if receiving something from the source, the ground of all be-ings, all that what is. Richter (considered to be the greatest painter after World war II), says that: it is all about nake dpassion, if that's not there then it becomes mere stupidity. Why would adults spend their time playing with paint and making marks on 'paper', battling with the space of the 'paper, canvas, etc".
  • Ulrich de Balbian I can only refer to other artists in whose work I found this 'mystery', a presence of something that is much more than what the image conveys. I mention two: the landscapes of Samuel Palmer and the work of Odilon Redon. Mysterious color combinations, simple concrete things like flowers, trees, landscapes appear as if they reveal some otjher presence, some force - as if 'that' (the energy, the life, lifegiving) that underlies all creatures shine through. Of course this is nothing new to contemplatives and mystics (from all religions). An apology forthe long response but I merely try to express my own bafflement when encountering some paintings, music, or creative work and insights from any field, for example theoretical physics, mathematics, etc. Look at work from Palmer and Odilon Redon and you will see what I mean. Soemone said she felt it physically when she encountered Palmer;s work in a museum in London and that some of my work also caused her to react on that level, physically, with all her senses, sensuallly she felt it. I do not try to make nice paintings - that's easy - paint a baby, flower, sunset, etc - but that what I must, amd compelled to do at the moment, even if the result does not appear pleasant, pleasing or likable. Thanks Marti Forkner-vernon for your time.
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    Ulrich de Balbian shared a link In-depth chat with inspiring painter...: "llink to 1 interview, with images - http://sacreativenetwork.co.za/2012/06/in-depth-chat-with-inspiring-painter-ulrich-de-balbian/"

    In-depth chat with inspiring painter Ulrich de Balbian : SA Creatives
    I lived and studied in a number of countries, including Great Britain, France, Germany and Spain.I have doctorates in Philosophy and Theology and qualifications in Social Science and Fine Art.When i was young I did sociological research in South Africa, so I know certain areas, of this vast and very...

    wow! david, exactly what I needed and thanks for taking the time to write it
    withoiut putting it into concepts I sense that it is about something like that. Occassionally it feels lonely - as that deeper, but obvious to me, aspect/s, dimension/s are never dealt with by artists, critics and viewers.
    But in my case it feels as if something far deeper, unknown, unknwwable employs the painting techniques (that many artists seem to think are unique and amazing - they say things like: it ssems as if the colors, paint appears by magic on the support, paper, canvas)  to express itself.
    I don't see it as better than the work of others, it is just me.  Look at the paintings of Redon (not the sculpture)
    Odilon Redon - something more than the obvious pictures  is prsent - some force, sone mystery
    or the landscapes of Samuel Palmer - mere landscapes, but some presence, some force reveals itself -

    Thanks D for having taken the time for a serious and sensitive response.
    I don't seek compliments in many languages for my work.
    Just one word or a "!' can show it reveals something of the otherwise invisible, and hit its mark.
    The Rilke is very special -
    I wonder if someone like that could share any with others when he was alive, or perhaps only expressed in his art -
    like many composers as well, I suppose?
    And - seems to me one must be older, 'wiser", having been marinated a lot, to the bone softened - to become this 'level', kind of perceptive sensitivity?
    thanks again
    what you wrote I place with my painting/s - someone , somewhere might do more than merely read the words


    and it APPEARS to be a place of desolation,
    no individual creatures;
    no others there to share it with,
    no communication of any sort -
    nothing even to communicate
    not even nothing t/here
    just 'that' (which is not anything) that underlies all created things, thoughts ,
    one just is this nothingness
    that on more specific , mundane, concrete levels
    allows the production fo all created: feelings, thoughts,
    birds chirping, the leaves at my window, the sunlight on them -
    as if between the (what we take as /for everyday) reality
    and that what underlies it -
    that what never was, but always is,
    that what is not (when perceived in human terms of  or standards of existence -
    that what is or exist :, must have thoughts, or shape, be recognizable,
    be visible, could be heard, touched, tasted...
    should make sense to the senses/ and or to the 'mind' (human thinking) in some way.
    but it just 'is present', without that is 'is' or had beginning or end or any form of being (exitence).


    Thanks David for having taken the time for a serious and sensitive response.
    I don't wany all the fantastico, magnifico, what a master etc in many lnaguages I receive when I upload my work on my facebook page.
    Just one word or a "!' can show it reveals something of the otherwise invisible, and hit its mark.
    The Rilke is very special -
    I wonder if someone like that could share any with others when he was alive, or perhaps only expressed in his art -
    like many composers as well, I suppose?
    And - seems to me one must be older, 'wiser", having been marinated a lot, to the bone softened - to become this 'level', kind of perceptive sensitivity?
    thanks again
    what you wrote I place with my painting/s - someone , somewhere might do more than merely read the words

    and of course care for my dogs -
    You may have painted yourself into this place of spiritual darkness or at least suspension of ordinary functions.  I'm learning gradually that my memory is shot, not because of brain disease but of brain healing. Old imprints are falling away and new "wiring" is taking its place.  The emptiness comes with the activity.  It's like seeing in the dark for me. 
    It seems to me that that which is illusory is but the opening to a deeper reality.  In a sense, all is dead and meaningless because we see in a different way, such as D is saying.  We need to hang on to see what it yields.


    Marti Forkner-vernon thank you. even though the destination remains unknown, the paths and doorways remain open. the 'mystery' has always been apparent to me in various forms, not being able to identify it, but knowing of its existence. there is a certain force (i know there must be a better word) that seems to inhabit certain people. i have known those (some), and i look forward to viewing the works of the artists you have generously listed and described. that you mention the different venues, religion, art, music, physics, etc., i understand completely that the expression of this power? force? is presented from the possessor in whatever way they are gifted in, and the expression is not a decision; it is a fundamental need for survival, even to the point of poverty, if the alternative is repression. and, i also know that one is born with this-the drive. i look forward to reading the words you have so generously shared, as i look forward to viewing the new images here. i see so much in your paintings, and am familiar with many of the images, shapes, stories- on some level i don' t claim to understand, won't try to translate instinctual reaction into a mental box.


    She gets it.  I like to think about "sign" value. The miracles in John's gospel are referred to as signs of the divine presence and, at least in my estimatation, encounters with the inward stream of the future. In other words, there's more than flash and dazzle here. Something is altering history here. The paintings are astonishing - make one stop and pay attention. But at the same time, they continue to reside in Mystery.
    my response
    yes, she gets it - she makes a comment on many paintings -  a door,a window, some entrance and much more  she finds and then sort of what happens or she feels - but always openended - and leaving the mystery to explain itself.
    wonderfuil wnhat you said about John's Gospel - always the most baffling to me ;
    yes, one stop at a painting if one feels inclined to look at something simply visual -
    in olden days one finds like in Chartres Cathderal - a big, low sort of lump, plump  building - compared to the baroque elegance and 'too much' over the top -
    pictorial scenes from the Bible especially NT - as most then could not read. same with the statues of saints those days, usually wood, painted with something with them to point to some aspect or feature of their life.  The tiny  hamlet I lived in in vrance had a 1000 year old little church, with raised wooden floor like a platfomr and a staue of St Roch and his faithful dog.
    anyway today a simple visual piece as painting deals only with combatting with the space of the support - wood, paper, canvas etc - one works on -
    must compete with films, expensive videos shot for Madonna, Michael Jackson and everyone or their complex theatrical performances when the perform.
    So for someone to wish to spend a moment with just something silent takes a lot.
    all these bits you write I place  at my gallery or site -
    they are real pointers -
    that a few more serious people will reflect on in future.
    did you know van Gogh painted the frames of his paintings, so that they should be part of the work -
    only one of the painted ones survived - as the frames were removed by the owners and auctions houses paying 50million or more pounds for them and replaced with expensive frames -
    that alone shows to me they don't get what he tried to do, while suffering  terribly mentally and physically

  • Ulrich de Balbian Marti, want to tell you something. It seems to me, perhaps not always the case and depends on circumstance - but that mornings and during the day I paint rather complex/confiend, while late at night much freer and loser -. But is that not the case with one's 'spirit' late evenings and during the night anyway - freer, tuned in easier to 'other diemsnions'
  • Marti Forkner-vernon Yes. If I could paint always, all night, all nights. The earth seems to have relief from the human distractions (I know I do). Access to the source is so easy then, without interruption. I can feel the difference in you paintings. Although, with yours, the process could include all time periods, as you work with the many layers. That in itself adds more mystery and contradiction to the composition. Even the negative spaces, or white planes, contain multitudes of energy and layers of awareness.
  • --
    wow! thanks you got it ther, gave me shivers (literally when I read it). I used to be a hermit monk for many years - all night contemplation and silent sitting - resting in the source. Must paste what you wrote here on my site! You must put your thoughts in a book