Forming Structure and Chaos:
Forming Structure: The Structures I create using Phi are relative and are developed via the "perceptive-responsive," i.e., perceiving what is taking place while responding at the same time rather than using some initiated control, containment, or pre-figuration. This development remains fluid when formed without using intention. It's as if it is "programmed," yet not deterministically. By guiding it with the absolute requirement of intuition, the outcome cannot be foreseen and on occasion, immediately understood. It is uncanny and mysterious in outcome, i.e., in the realization that it works somewhat like Einstein's spacetime, gravity, or DNA.
Forming Chaos: Chaos requires a lack of intent, will, or conscious control. There are different levels of this avoidance of intention. Some images form completely without any awareness, coming from the sub-conscious, while others require some degree of response via improvisation.
Note: Kandinsky defines improvisation as "chiefly unconscious for the most part suddenly arising expressions of events of an inner character, hence impressions of an 'internal nature'."
The images of Chaos are based on "simultaneous-interpretation" (the observer and observed as one) during its formation. There can be different outcomes when using Process and chance in the improvisation of "points." I find different "degrees" of Process-outcome as well as "types" of Process-outcomes. In other words, depending how one approaches the actual Process will determine the type of outcome as being either predictable, probabilistic, or non-intended. Logic has no input, only probability. Somewhat like the "super-strings" of Super-string Theory that gives everything it properties, its defining attributes, its "thing-ness." The images of Chaos can begin without intention and sometimes continue to the end of an area or shape. Or, the artist can begin to perceive what's happening starting with a vague awareness, causing their imagination to activate; not to operate intentionally but responsively. Here the perception is simultaneous with interpretation and the act of formation itself, all happening at the same time and becoming a realization in the "here and now," i.e., before the future yet after the past and "revealed" by way of "imaginative perception." This can also happen with the viewer too, dependent on his or her level of receptiveness (openness) to the painting.