“Just as every word spoken (tree, sky, man)

awakens an inner vibration,

so too does every pictorially represented object”.

Wassily W. Kandinsky.

The Universe integral part of which we are continuously creates itself. How come? The intention from the absolute emptiness to the filled space.

Every particle is compressed space that is certain clots of energy moving by the particular laws. Thus particle constitutes certain information unfolded into the space in which in its turn dispersal clots of energy is stipulated by the information about the way this space should be. Energy generates thin field background briefly Field and further with compression of this Field structure of material Universe in which we are is arranged.

Intention – Information – Field – Structure. That`s what the whole algorithm is about.

The certain script is embedded into the Field like a hologram. Field concentration determines the appearance of the Universe instantly.

Briefly, Universe is the instant of energy disperse which projected from the structure of the Field in accordance with the embedded information. There are numerous instants in each instant. Anything can happen. The Universe continuously changes constituting the probabilistic landscape of occasions, events and phenomena determining a sum of all actions in all circumstances.

In order to change or create something in the Universe in a conceived direction in the first place, we need an intention to change this Universe. We invent plan of action and further take efforts in particular sequence according to plan. But next instant after the birth of intention instant of the Universe changes. The Universe is not the one which was before moment ago.

It turns out that we chase gone and elusive Universe phantom of the past instant bound to fail because of the chase itself.

Physically method of conscious occasions control (intention control) is controlling of instant structure space changes flow or simply probability control. Another intention creation and necessary information prescription into the Field about the instant of Universe description.

Immediate intention control can happen either on Information content level which is less available for people because it takes special skill or on Field level which is more available because the Field is already represented by certain information hologram materially expressed in certain space place. Simply put – attunement. If you locally place certain devices which properly able to influence Field, it is possible to create certain conditions so that Universe events will happen at more predictable script rather than according to total instant probabilistic.

A long time ago people understood the principle of creating artefacts which are able to influence Field. On acoustic range component: zen-flutes, jews-harps, drums, tambourines, organs and others. As well as on optic range component: mandalas, yantras, Christians icons, hieroglyphic calligraphy, ritual items, even tattoos. Especially developed civilizations erected special structures acting on the principle of repeater: Egyptian pyramids and sphynx, ziggurats, religious buildings, temple complexes, statues, sculptures.

Those who created it well understood in fact ability of influence of spacious geometric shapes, flat images, acoustic vibrations, reflected and scattered light ability on the structure of electromagnetic field which in its turn will take effect on Field subject to defined pledged informational content.

Nowadays much is changing. Inevitably in Universe perception and in the rhythm of life are happening significant changing. Accordingly, must change as well artefacts features modifying information content of the space.

Painter and art theorist Wassily W. Kandinsky subtly understood this changes. Part of this described in his texts such as “Point and line to plane”, “Concerning the spiritual in art”.

“The spiritual life to which art belongs, and of which it is one of the mightiest agents, is a complex but definite movement above and beyond, which can be translated into simplicity.”

A specialist of the sacred texts of the Indian subcontinent, art curator, collector and essayist Ajit Mookerjee noted in 1975 in his book “YOGA ART”:

“The yogi artist’s perception of form is grounded in his process of symbolization. The function of the symbol is unique for the yogi artist in that it operates as the link between observation of the outer world and a very precise extraction of its essence.”

“The true artist, like the seer, is always, conscious of his role as a vehicle for truth. Insight may come to him in the form of a divine madness, in which the truth is revealed to him in an extasy; or in a humility like that of a scientist who confronts his discipline as something or far greater importance than his individual self.”

“There is, however, one important respect in which much Western abstract art is different from the yoga art images. The modern works are often meant to evoke in the spectator sensuous and ideological responses to the painting’s concrete attributes. Klee or Mondrian which closely resemble the checker-boards of Indian calculation diagrams need to carry, in their very physical make-up, clues to the meanings which are to be projected on to them from within the spectator. A human content is meant to emerge to vitalize the form.”

A mystic, philosopher, spiritual teacher and composer of Armenian and Greek descent George I. Gurdjieff noted in one of his lection which was written and later published in 1949 by Peter D. Ouspensky in his book «In Search of the Miraculous: Fragments of an Unknown Teaching»):

“I do not call art all that you call art, which is simply mechanical reproduction, imitation of nature or other people, or simply fantasy, or an attempt to be original. Real art is something quite different. Among works of art, especially works of ancient art, you meet with many things you cannot explain and which contain a certain something you do not feel in modern works of art. But as you do not realize what this difference is you very soon forget it and continue to take everything as one kind of art. And yet there is an enormous difference between your art and the art of which I speak. In your art everything is subjective—the artist’s perception of this or that sensation; the forms in which he tries to express his sensations and the perception of these forms by other people. In one and the same phenomenon, one artist may feel one thing and another artist quite a different thing. One and the same sunset may evoke a feeling of joy in one artist and sadness in another. Two artists may strive to express exactly the same perceptions by entirely different methods, in different forms; or entirely different perceptions in the same forms—according to how they were taught, or contrary to it. And the spectators, listeners, or readers will perceive, not what the artist wished to convey or what he felt, but what the forms in which he expresses his sensations will make them feel by association. Everything is subjective and everything is accidental, that is to say, based on accidental associations—the impression of the artist and his ‘creation'” (he emphasized the word “creation”), “the perceptions of the spectators, listeners, or readers”.”

“In real art, there is nothing accidental. It is mathematics. Everything in it can be calculated, everything can be known beforehand. The artist knows and understands what he wants to convey and his work cannot produce one impression on one man and another impression on another, presuming, of course, people on one level. It will always, and with mathematical certainty, produce one and the same impression.”

“At the same time, the same work of art will produce different impressions on people of different levels. And people of lower levels will never receive from it what people of higher levels receive. This is real, objective art. Imagine some scientific work — a book on astronomy or chemistry. It is impossible that one person should understand it in one way and another in another way. Everyone who is sufficiently prepared and who is able to read this book will understand what the author means, and precisely as the author means it. An objective work of art is just such a book, except that it affects the emotional and not only the intellectual side of man.”

“The great Sphinx in Egypt is such a work of art, as well as some historically known works of architecture, certain statues of gods, and many other things. There are figures of gods and of various mythological beings that can be read like books, only not with the mind but with the emotions, provided they are sufficiently developed. In the course of our travels in Central Asia, we found, in the desert at the foot of the Hindu Kush, a strange figure which we thought at first was some ancient god or devil. At first, it produced upon us simply the impression of being a curiosity. But after a while, we began to feel that this figure contained many things, a big, complete, and complex system of cosmology. And slowly, step by step, we began to decipher this system. It was in the body of the figure, in its legs, in its arms, in its head, in its eyes, in its ears; everywhere. In the whole statue, there was nothing accidental, nothing without meaning. And gradually we understood the aim of the people who built this statue. We began to feel their thoughts, their feelings. Some of us thought that we saw their faces, heard their voices. At all events, we grasped the meaning of what they wanted to convey to us across thousands of years, and not only the meaning, but all the feelings and the emotions connected with it as well. That indeed was art!”

Psychotronic art* includes the creation of paintings based on the effect defined as coloured surfaces of geometric objects which have an influence on the energy-informational content of the space. These devices act upon space at that unnoticeable for observers. Space in its turn influences on all who are in it no matter what factors they have (willpower, wishes, predisposition). There is no personality in this art (that is this is not the means of self-expression of personality). Author or creator becomes operator-explorer through whom these works come to life. Personality creator does not take part in it and this is required condition during the creation. Therefore, most of the artworks are created for specific human or people group or for a specific place in the space with considering tasks set.

Nikita Anosov, 2018.


  1. Mookerjee, Ajit. YOGA ART. Boston: New York Graphic Society. 1975.
  2. Kandinsky, Wassily, W. Point and Line to Plane. New York: Dover Publications. 1979.
  3. Kandinsky, Wassily, W. Concerning the Spiritual in Art. New York. Dover Publications. 1977.
  4. Schuon, Frithjof. Art from the Sacred to the Profane. Bloomington, Ind. World Wisdom. 2007.
  5. Ouspensky, Peter D. In Search of the Miraculous: Fragments of an Unknown Teaching. New York. Harcourt Brace. 1949.

*The term «Psychotronic Art» was introduced by yoga master, painter, writer, ancient texts translator Andrei V. Siderski.