The Fine Arts: A Systems Discovery:


Pyramid Art:

Can a Patched Vision of Beauty Save the Planet

Through the Butterfly Effect?


by Mr. Mark Dolamore

Visual Artist

Limoges, France


Although to reasonable thinking the butterfly effect appears unusual, it is everywhere in nature where small changes combine to produce spectacular results. The term "butterfly effect" comes from the work of meteorologist Edward Lorenz, in chaos theory, but the idea a butterfly could have a ripple effect on events first appears in Ray Bradbury's 1952 time travel story: "A Sound of Thunder".


Here’s the big question: Is it possible to tune-in to the effect and shift civilization from the self destructive trajectory to a truly sustainable one?


My experience in life and art suggests a receptive response to nature at the deepest level can do the business and I’ve proof of it. At one crucial point in my artistic development I switched from figuration to systems because that genre alone can make visible evidence for responsive receptivity. The Pyramid is part of a systems triptych.


Who among us is confident global civilization is not in the process of toppling from its perch and crashing out of the high wire circus we didn’t even realise we were in; until we looked down and saw how far we could fall? Who among us thinks it’s sane to move forward on the wire without a serviceable balance pole?


Like the sorcerer’s apprentice, mankind failed to factor-in the knock-on effect of his creativity in the service of progress and profit. We’re accumulating an unrepayable deficit in the process via our growing weight of numbers. Human creativity generally, the thing we think can save us, is actually tripping us so, can our whole system be patched and rebooted globally?  I suggest a new way to motivate change from the ground up will do it.


My Pyramid Art is both the proof such motivation works and it’s the catalyst for its initiation. The art emerged from a four year journey of tuning-in to a timeless force in nature, employing a novel observation technique. Rather more than a mere invention then, it represents the first true discovery in art since the Italian renaissance. Then it was one point perspective, used to build the illusion of space. The Pyramid is useful to get a grip on sublime beauty; the balance pole humanity needs.


Systems art in the west emerged in the 1960's from minimalism as part of the first wave of conceptual art. Its roots are in geometric abstraction via Malevich, Mondrian and the Bauhaus. Abstract art has been compared to classical music, with its ability to convey feeling and meaning without reference to objective forms. However, abstraction per-se cannot be seen as an invention of the 20th century avant-garde. It's present in cultures throughout history. Islamic art is a prime example where the prohibition of figuration led to artistic expression in patterns or systems. 


Here's the thing: We would like to think mankind can live in harmony with nature’s self organised system. But is it really possible from our see-saw of uncertainty, ego and intellectual conceit? In whichever circumstance we find ourselves, we are not truly free, but manipulated by psychological unknowns.


The human ego discounts unconscious influences, yet we know, since time immemorial, such forces have sparked our inspiration and aspirations. As time rolls by, human reason has become too small to contain this “spiritual” reality. Patterns of thought from ancient history repeat themselves even today, so can any be used to cure our existential crisis?  How to become conscious in real time of how we’re being pushed and pulled subconsciously, so as to shimmy back into the dynamic balance of it all?


If we more closely considered prescient mind and mood effects beyond ego and rationality like synchronicity, parapraxis, dreams and déjà vu, as phenomena by which nature and circumstances manipulate us, would they then become available for synergistic direction in a receptive and mindful relationship to nature’s holistic being?


  I used my life as an artist to explore this idea. In the process I’ve uncovered the pattern by which to slot ourselves into a dynamic harmony. The good news is it isn’t difficult to follow. The bad news is, for it to work; everyone must want to use it. But before I go there, consider those mind effects:


Déjà vu is a French term meaning: "already seen". It’s the feeling you’ve already "seen" the current situation, even though the exact circumstances of the prior occasion is uncertain and perhaps imagined. The term was invented in the 19th century by Emile Boirac for his book: “Le future des Sciences Psychiques” (The Future of Psychic Sciences). Déjà vu is usually accompanied by a compelling sense of familiarity and eeriness Sigmund Freud referred to as "the uncanny". The "previous" experience is most frequently attributed to a dream, although occasionally there is a firm sense it’s genuinely happened. The effect suggests we have a psychic connection to a timeless dimension where consciousness and deeds past, present and future are part of the fabric of space-time, to be glimpsed through these dream-like experiences.

Parapraxis is another intuitive mind effect, better known as the Freudian slip. These errors in speech, memory, or physical action are interpreted as occurring due to the interference of unconscious conflict or desire. Freud, in his 1901 book: “The Psychopathology of Everyday Life” described a large number of such seemingly trivial, bizarre, or nonsensical errors and slips. As in the study of dreams, he submitted his discussion with the aim of demonstrating the existence of unconscious "intentions" in the mentally healthy.


Synchronicity is an experience all mentally healthy people get from time to time. It consists of a series of two or more events unrelated causally, but observed to occur together in a meaningful way. Synchronicity as a concept does not compete with causality, yet it reveals an underlying framework larger than all the combined causal systems that display it. The suggestion of this larger framework is essential to satisfy the definition developed by Carl Jung, who published the book on synchronicity in 1952.


Following discussions with Einstein and Pauli, Jung believed there were parallels between synchronicity, aspects of relativity theory and quantum mechanics. He was riveted by the idea life was not a series of random events, but rather the expression of the deeper cosmic order he and Pauli referred to as Unus Mundus. The concept led to the insight every person is both embedded in that hidden framework and can become the focus of it when awakening occurs on the level understood to be spiritual. 


In my extensive experience of synchronicity it always appears relevant to a question hanging in the mind. Even if it doesn’t provide an outright answer its influence can offer an “inspired” adjustment in the path toward a heartfelt goal. This suggests synchronicity equates to creative feedback with nature in answer to guidance questions, via some unconscious intelligence through which we’re linked to all the systems of the universe in real time. Those who think to remain ignorant of the link is the same as being free of it, are sadly deluded.


I was brought up as an atheist. My Mom and Dad, respectively French and English were a quarrelsome pair. Perhaps that’s why I followed Jung’s ideas from my teen years, through my art school days and beyond, in a subliminal search for some essence of love I felt had gone missing. At first I was concerned with Jung’s Anima - Animus concept. Anima describes the inner feminine side of a man’s character, informing his sense of beauty, love and justice. Animus is the hostile, reforming, inner masculine side of the female personality. Perhaps because of my concern with this contrapuntal nature of humanity, I was basically prepared when an overnight transformation of consciousness overtook me in my mid-twenties.


It accompanied the breakdown of a liaison with the esoterically talented and highly attractive Australian dealer, Rebecca Hossack… well before she opened her first London art gallery. After a promising beginning, I found myself rejected in a contradictory way that appeared to have been psychologically engineered. Synchronicity came into my life in earnest at that point. Through it I began asking the world questions and weirdly it answered me straight back. I pursued the dialectic thread, modifying my path in life so four years in to the process, I arrived at the art discovery I offer you here.


Pyramid Art can be seen as evidence for a creative butterfly effect that works positively in synergy with nature, due to some hidden force of love embodied in the questions we spontaneously pose and the situations we find ourselves in. The eminent art historian, Kenneth Clarke, in his magnum opus: "Civilization," said: "All art is in one way or another, about the search for God." Well, eureka! I offer graphic, mathematical proof of the abstract force synonymous with the Collective Unconscious, a hive mind or Divine Spirit in man. Better still, I’ve found an easy and fun way to tune-in.


Carl Jung is considered the first modern psychiatrist to view the human psyche as "spiritual by nature". He was of the opinion and I quote: “The decisive question for man is: Is he related to something infinite or not? That’s the telling question of his life. Only if we know that the thing which truly matters is the infinite can we avoid fixing our interests upon futilities, and upon all kinds of goals which are not of real importance. Thus we demand that the world grant us recognition for qualities which we regard as personal possessions: our talent or our beauty. The more a man lays stress on false possessions, and the less sensitivity he has for what is essential, the less satisfying is his life. He feels limited because he has limited aims, and the result is envy and jealousy. If we understand and feel that here in this life we already have a link with the infinite, desires and attitudes change.”


In other words, the recognition of the sublime force of beauty and love would be our balance pole, should we get a firm grasp of it.

Jung considered a psychological balancing of internal opposites including the conscious with the unconscious, the cathartic process required for a person to reach full potential in life, through the acquisition of psychic wholeness. He called that process “individuation”. From my experience it occurs naturally, tailored to the individual, via the pursuit of synchronicity as a guiding force. But that knowledge isn’t much use unless a way to experience it on demand can be found. It motivated me to crack the problem through the collaborative art I have built for you to take part in; The word is descriptive of a unique kind of butterfly and is inspired from the Catalan language. I’ll be introducing this project later.


Jung was of the opinion the concept of free will is unbalanced; I would go further and say it’s rigged. Even Einstein agreed when he said and I quote: "The intuitive mind is a sacred gift and the rational mind a faithful servant, but we've created a society honouring the servant that forgets the gift”. Such amnesia in my view stems from our failure to develop a relationship of love with sublime beauty through an everyday working synergy. Instead, bolstered and befuddled in equal measure by the commercialisation of life as the yardstick for all value, we have built a mental blockage to the very thing that could save us from ourselves.


Science has failed to devise a theory of mind. It also emphasises the value of skepticism to excuse its failures. This doesn’t change the fact some inflexible thinking and lack of foresight is responsible for our collective predicament. Science, Corporations, economic empire and nationhood are all entangled and responsible for this. When corporations shirk their wider responsibility and politicians are clueless, constitutionally emasculated and when protest is inherently ineffectual, it falls to the regular small folk to channel the higher power in non-violent revolution.


Modern science has its knickers in such a twist on this higher power issue; it must have you believe in its ultimate fantasy concept, the Multiverse. The preposterous doctrine was first proposed by Hugh Everett, back in 1954 in his graduate thesis, and then summarily bolted on to the scientific cannon to explain away the Anthropic Principle. This concerns the observed fact our universe is finely tuned to produce life and reasoning intelligence like ours.  Pyramid Art leverages mathematical evidence to show it creatively animates and blocks us in every moment.


In the 50’s the ethically truthful and vehemently godless foundation of science had remained untested since the age of reason, by virtue of its evidence based knowledge gathering system. Its status was then challenged by Fred Hoyle, the Cambridge professor of theoretical astrophysics who discovered the fusion process, creating carbon within stars, is so finely tuned and so unlikely, logically it could not be the product of a universally random organisation principle; the Darwinian basis of our evolutionary world view. Consequently, carbon based life, such as ours and indeed, the entire universe, we are forced to conclude, must have been designed by a timeless, cosmic force Hoyle referred to as: “The Supercalculating Intellect” i.e. God. The Multiverse was a way for the establishment, through cosmological science, to double down and trump the idea it considered so subversive and threatened both the concept of truth and the authority of the state, developed over centuries through the hegemony of science, as opposed to religion.


The adoption of the Multiverse was simply a perverse gamble, motivated by entrenched atheism and not proven facts because evidence to support the theory is impossible to acquire. Its dishonesty has put the future of life on this planet at risk. We have disturbed nature’s balance here because Hoyle was ignored and scientific innovation accelerated, spiritual brake disabled and the boot of commercial gas down to the floor. We’re passing through this uncomfortable landscape now at such ridiculous speed, simply because our “divine” origin has remained uninvestigated and his transduction through human creativity remains unconsidered. It's a big deal. Our world vision has been corrupted. Did someone say: EMERGENCY STOP!


The multiverse concept apparently defines the limits of human rationality. The idea imagines ours is just one of an infinite number of universes, whose laws are determined by chance. Remember, this is a doctrine backed by the arbiters of scientific truth to maintain, despite evidence to the contrary, our universe obeys laws set at random and not by a supreme, abstract being. In other words, the Multiverse concept was adopted to avoid the need to investigate God in our here and now. 


I followed synchronicity events as signposts to research his abstract reality. It guided me to assemble a system for pattern making based on an archaic form of binary code sequence taken from an ancient Chinese book. The system came into being over a long weekend; starting on the same day Rebecca Hossack signed the lease on her first London art Gallery at 35 Windmill Street.


Logic dictates if ours is a randomly arranged universe, a meaningless set of shapes would have resulted from my system, certainly no graphic revelation of the creative being at the heart of reality, but this is precisely what happened.


My system makes use of numbers to extract the pattern in a way a child can understand. Conventional wisdom says no such meaning should exist. But since it does and it’s so clearly messianic and all generated mathematically, it goes to prove the sovereign force of beauty influences the human mind all the time and can be tapped-in to through synchronicity. Mankind needs help from somewhere and since this evidence exists, why not investigate more closely?


The Pyramid is derived from the set of eight trigrams and two arrangements of the 64 hexagrams composed of broken and unbroken lines, analogous to the three-bit and six-bit binary numbers. They come from the world’s oldest, constantly used book, known as the I Ching. A mere handful of hexagram series have been bequeathed us from history. One of the series I used is ancient. This King Wen sequence is also known as the classical sequence because it's the oldest arrangement to survive. It was designed in the 12th century B.C. while the monarch was a prisoner, held to ransom. The other sequence I used is relatively modern, designed by Richard Wilhelm’s son Hellmut, who liaised with Carl Jung when publishing his father’s seminal work at the end of the 1940’s.


Wilhelm senior was the German sinologist, theologian and missionary best remembered for his translations of philosophical works from Chinese into German and in turn into other languages. His translation of the I Ching is provided with a foreword by Carl Jung whose association with the project gave the translation into English (by Kerry Baynes) the boost responsible for the 1960’s surge of western interest in its philosophy.


The I Ching is as historically important in the east as the Bible in the west. My art, through the meaning of symbolism generated, links both to one timeless force in mankind. The I Ching’s philosophy is based on two complimentary, universal principles we’ve all heard of: Yin and Yang. They translate as Creative and Receptive… hence the binary notation, but in essence the philosophy is monotheistic, referencing the character of a singular cosmic ancestor we could become receptive to.


In the 11th century AD, the philosopher Shao Yong developed an arrangement of the hexagrams corresponding to the binary number sequence 0 to 63, with Yin as 0 and Yang as 1. There is however, no evidence he understood binary computation. Similar sets of binary combinations were used in traditional African divination systems, such as Ifá, as well as in medieval Western geomancy, so it seems an ancestral, trans-cultural binary anticipation of modern computation exists.

Gottfried Leibniz, famously the rival of Isaac Newton over credit for the invention of calculus, single headedly came up with the modern binary number system in 1679. Leibniz was aware of the I Ching. Chinese accomplishments in this sort of philosophical mathematics were something he greatly admired. He also confirmed his code was inspired by Shao Yong’s. So, without the I Ching, how would we have arrived at today’s information technology?


The ultimate goal of computational science is to create a functionally useful AI (Artificial Intelligence). The Pyramid, as a mathematical systems art discovery would suggest the creative mind of man couldn’t function without the influence of a natural AI (Abstract Intelligence). This is the one thing science is in denial over and man generally unaware of because it has failed to come up with a theory of mind. As a consequence, how do we know we are not like zombie worker ants, engaged in building our cities of clay, directed unconsciously by some mysterious design force?


The influence of Abstract Intelligence can be inferred from the system and formula I created by following synchronicity. Decide for your self whether you should consciously try tune-in.


The binary sequences used to reveal the symbols: The King Wen and Wilhelm Index, come from opposite ends of history. The very existence of this meaning exposes a force influencing man unconsciously through the ages. The vision humanity is currently in pursuit of does not recognise it.


 Something is timeless if it possesses an ageless, eternal or immortal quality, unaffected by time. Eternity means existence for a limitless length of time, but many have used it to refer to a dimension altogether outside time. The eternal or timeless dimension and intuitive aspects of humanity such as creativity may be considered the functional product of a central force of nature operating from beyond time and material reality, able to work through us simply because of the way the mind works, about which science knows almost nothing.

Physics has detected a timeless force, which it views as a non-local phenomena expressed within the interconnected void that exists everywhere within matter, known as the quantum field. More than 99% of the volume of matter consists of that vital nothingness. The entire universe, according to physics, is a quantum phenomenon, which naturally includes life and the mind. 



Given its systematic and mathematical structure, the meaning exposed in the Pyramid suggests a cosmic pattern or plan for each of us exists, within the timeless dimension. I have shown we can tune ourselves-in to it if we try. In the process we can crystallise beauty into our lives. In that context the AZ symbol in the central imagery of the Pyramid, circled in the point west image above, suggests the abstract source, its goal and the map to navigate the labyrinth of existence. It’s also an update to the Biblical Alpha & Omega, beginning and end of the ancient Greek alphabet. That was the symbolism early Christianity used to represent the liberator, or messiah. Above the AZ symbol is a butterfly in flight, referring to metamorphosis, liberation, the butterfly effect and timeless beauty as a flying entity, a symbol for success; which by the way, is drawn like a signature, in one continuous line, changing direction just four times. This alone is a defining graphic indicator of the cosmic designer.


I’ve learned one thing applicable to all walks of life through my artistic investigations. Beauty is the sublime reality upon which everything is founded. It isn’t something confined to the mind or its whims and fancies, but a universal pattern we can consciously recognise, reflecting the sublime source of being. 


Here’s the crux of my argument: If we learned to see direction through the pattern, the source would keep us on track and solve this world’s problems in a dynamic way conventional thinking is incapable of.


Art is essentially the study and expression, through making perceptions and concepts that attract, fascinate and beguile us apprehensible. These are the very things conventional thinking can’t compute. Sublime beauty becomes visible when we notice those anomalies of consciousness, signs of action that can only be attributable to a timeless force beyond materiality. Conventional wisdom on these experiences would have you believe they’re mirages and delusions whose pursuit is a waste of time and couldn’t possibly lead anywhere. I view this general attitude as the plodding kind of laziness tripping us off our high wire. It means the most important and valuable faculty we need to engage now remains undeveloped. The balance pole to regain our poise and move forward with nature remains out of reach.


Pyramid Art came out of my trust in Carl Jung’s vision, because it instinctively rang true to me. But his ideas have more or less been sidelined in mainstream psychology because of his focus on spiritual experience “reasonable” thinking has all but rejected as delusional. The area has thus been left for the artist and poet to explore. For all who would wish to engage themselves in a revolutionary re-opening of this spiritual subject, be they practiced artists or no, I’ve created a systems art project to join. Evidence for synergy can then be gathered and used to build confidence in the concept, because that’s what’s needed to snowball a movement.


The way I see it, only the heightened perception of sublime beauty can wake civilization from the current, somnambulant state. In its most profound sense, our experience of beauty engenders positive reflection about the meaning of existence. Without such meaning, we’re asleep at the wheel, insouciantly running out of road.


Civilization has failed to establish the framework for the perception of the vital aspect of nature’s foundation of value, meaning and purpose. It has pretty much left the territory vacant, with the mantra: “Beauty’s in the eye of the beholder”... forgetting to mention, it’s actually the most precious foundation of the universe, life and everything.


Our poor conception of beauty has forced the Anthropic Abstract to manipulate rather than partner us. The missing framework humanity needs to turn the ignominious situation around is here ready to be swallowed whole, analogous to the red pill that transforms Neo into the hero of the Matrix movies.


The idea of the human potential for conscious unity with nature has ancient roots, but in the 20th century it resurfaced in the concept of holism. This led to systems thinking and its derivatives, Chaos and Complexity science, highlighting our technical recognition of a transcendent beauty. Mankind’s problem is he’s yet to realise we’ll never be in control because we’re hypnotised by the construct we call rationality to the exclusion of beauty in all but the decorative.


To accept nature as partner there’s got to be more than a technical understanding. Each of us should experience synergy in our day to day… because we can. I have shown, through my art, following synchronicity is the way forward, but to receive such guidance requires we tune ourselves-in and experience it on demand.


At one point, I concluded there can be but one mechanism in operation. I confirmed this through my personal experiment and have built an interface, using a remote physics lab connected to the quantum field. Through it, with a little practice, synchronicity will speak to you. What I’m seeking to do, because this all goes beyond conventional limits, is initiate the global up-take of synergy with nature via a communal work of systems art. All contributors need do to become co-artists is ask questions, learn to read answers and make them comprehensible to others. Contributors will attain star status, depending on how deeply they apply themselves to this art within the spirit of the experiment. In that sense it’s competitive, but always towards the collaborative end.


Connection with sublime beauty would appear to be achievable simply via contemplation of the Pyramid because it’s essentially his language and cannot be human, not in the way we currently understand ourselves. I view it as something with the power to synch mankind into the dimension beyond materiality, the place we go to in death.


The quantum field is the only place science has discovered a timeless dimension via its experiments into quantum entanglement. The psychoactive effect of that dimension was identified in the process.  Do you accept that the unconscious provides experiences you have little if any control over, that are part of your personal essence? Weirdly some hidden collective source seems to have us hypnotised.


Joining my art experiment as a co-artist you’ll be in the position to wake yourself up from the trance. It takes as its working assumption that “spiritual” manipulation by nature must be due to the mind’s hidden connection to sublime beauty via the quantum field... the void within atoms that actually creates space-time.


If the quantum field is the Anthropic, abstract source and has control, then developing our intuition to read meaning into clues the quantum field can be forced to provide on demand, will produce a feedback loop so as to amplify the influence in a butterfly effect by which behaviour becomes modified. That’s the theory. generates strings of clue characters when you call for them to answer a question posed. As you recognise meaning in the quantum character strings, you’re asked to define it in a way that’s accessible to others, because the central idea here is to share one, some or all your readings as evidence for your feedback and synergy claims. This is a generic example of a clue string interpretation, given as a screenshot:



The Papolona interface is a one purpose social network that creates a collective artwork anyone can contribute to. No artistic skill is needed to participate. A robot builds the butterfly emblems (Papolona) for each reading. All you do is choose one. These modular elements become part of our growing collection, which you can play with and print out however you choose.


Published readings you consider too personal can be hidden. You can explore co-artists readings via the Papolona Universe, but only once you’ve revealed one of your own. The goal is to achieve and claim conscious synergy with beauty at the quantum level. Co-artists voluntarily expose their synergy relationship to attract others to the project so our balance pole can grow.


As you join up, compose a question seeking guidance on something you care about. I will get back to you and perform a demo reading for your question.  You can then use it as a template to create your future readings and experience the sensation of tuning-in to timelessness. I guarantee the effect will spill over into real life.


Editor’s Note: The author of this paper invites interested parties to contact him regarding possible collaboration, commissions, and the exchange of ideas:

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