Scholarly record

CONNECTIONS BETWEEN ARTISTIC FORM AND MORPHOGENETIC THEORY

Adriana Micu

Abstract

The present study aims to achieve a morphogenetic theory application in the field of artistic form, thus expanding the applicability domains of this theory and in the area of interest of the arts . An interesting approach to the concept of form (studied in the biological, chemical, physical forms) and then extrapolated to any systems in which, form is involved as a fundamental notion is Rupert Sheldrake 's morphic resonance theory. He argues that not all phenomena of life are explicable in terms of physical and chemical or mathematical laws, but could be explained by the hypothesis of formative causation that fills the existing gap. The structure of past systems affects the emergence of similar systems, subsequent by morphic resonance , acting beyond time and space. The British biologist and philosopher has developed the hypothesis of morphogenetic fields by publishing and investigating topics such as development and behavior, telepathy, perception and metaphysics of animals and plants. But what are the morphogenetic fields? Morphogenetic or morphic fields have information, not energy, and are usable throughout space and time without losing their intensity after they have been created. They are non-physical fields that exert influence on systems that have an inherent organization. The theory of formative induction focuses on how things take their form or organizational patterns. So it covers the formation of galaxies, atoms, crystals, molecules, plants, animals, cells, societies. Covers all things that have shape, patterns or structures or self-organizing properties. All these things are organized by themselves. This theory deals with natural self-organized systems and the origin of forms. According to Sheldrake, the cause of the forms is the influence of the organizational fields, the formative fields that he calls morphic fields. The belief in the original form, which determines both the physical, material, contour, and its contents as well as the fact that they are inseparable, having originally a form field after Rupert Sheldrake, or a torsion field after quantum mechanics, is perceived by Liviu Rusu, in essay on artistic creation - "The problem of form is therefore a matter of entelehia. Thanks to this, the potentially contained meanings in the deepest substrate of spiritual life unite in one conception or vision. The inner whirlwind picks up consistency, and from a whirl with changing moments it becomes a presence." Form has an a priori conditioning from the morphogenetic fields that it generated, initially existing at the eidetic level (of essence, after Aristotle and Husserl - beyond the appearance of things) captured by the complex creator's being as a total vector - or morphic unity, from universal consciousness or collective mentality, and then ontologized at material level, in manifestation. Of course, these forming fields are, in turn, ideal shapes resulting from the activity of other forming fields that participated in their birth.

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DOI resolver: doi.org/10.5593/sgemsocial2019V/6.1/S15.032

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