The human being who wishes to live in accordance with modern times, should know that all processes in which we participate, each and every one, are made on the basis of energy, they affect our energy and end up affecting the energy of others.

Using scientific language, we could say that energy is the fundamental parameter of all processes.

Energy is unique, in the same way as the Universe is a unit despite the fact that we could identify different objects within it. The human being with his creations is another sub-unit of the Universe, as is the society of which he forms part.

When we go from one place to another or when we are told about events taking place in other continents, we realise that the notion itself of space or distance diminishes. We assimilate, even without being aware of it, that places are now no longer near or far. It all depends on the energy that we posses to travel from one place to another. Therefore, instead of speaking of space, which, not with-standing, in an absolute concept, we should speak in terms of Spatial Sensation, as being nearer or further away only depends on perception. In the same way, we understand that time is nothing more than a measure of the energy invested in any vital process, that is, we should also speak in terms of Temporal Sensation.

Change of position has been described until now from the point of view of dynamics: we require a power to move the plane that transports us. This superficial vision even ignores an old Aristotelian statement: “one cannot separate movement from the body moved“. Indeed, changes in position caused by energy are mere processes associated with changes within bodies and, therefore, reflect on the emission frequencies of the same. Once again, energy appears in perception but now through changes induced in bodies.

The concept of perception is much wider than what has been through up to now, apart from awareness that we have of it, the reality is that we perceive energy and we are extremely sensitive to any field of energy created by ourselves or by surroundings.

These basic ideas are fully valid in the field of Art. Let’s look at some examples.

Within a building, or on a stage, we see the interior space in a global way through sight and sound. We have a Spatial Sensation that depends on two parameters; the first parameter is the power per surface unit of the waves perceived, that is, low frequency for acoustic perception and high frequency for visual perception. The second parameter is the distance at which we find the surfaces emitting or reflecting sound or light. Lastly, the stimulus of this sensation is the emitting or reflecting power of the surfaces of the space, similar result to the power of the car or plane that helps us to move from one place to another when we travel. This is the most superficial vision of Architecture.

Each of the architectonics shapes has an internal energy associated with it that are even able to asses. For example, we share, as it has been proved, the qualitative vision of Leonardo de Vinci when he associated platonic solids with energy of different sates of matter: cube is earth (solid), icosahedron is water (liquid), octahedron is air (gas), tetrahedron is fire (plasma) and dodecahedron is the cosmos. In others words, an architectonic shape (matter + geometry) creates fields inside itself that affect the people dwelling therein. The more it contributes in increasing their perception (glass, transparency ) and their inner magnetic field (compression conducting materials), the more beneficial its effects will be.

Let us leave functional volume and turn to the plane. In painting we can speak of two stimuli. The first ,if it exists, is the interpretation of sensations associated with figurative subject . The second stimulus, that we will comment on in greater detail, always appears, and is the effect on our mind of the radiation emitted by the surface, that is the radiation of geometry + colour + light. The first description of this stimulus corresponds to the concept of Spatial Sensation but, on looking more closely, we find that ,although the eye perceives the surface as a unit, it still analyses it to extract a set of frequencies, each of them being stimulators of the different sensitivities contained in our mind.

We will end this brief summary by commenting on dance:

The stage with its lights, shapes and colours creates a spatial sensation modifiable by the lights of the theatrical apparatus or eliminated drastically by concentrating the spotlights on the dancers. Music contributes to spatial sensation perception of the theatre, without counting the stimulus created by each of the frequencies corresponding to notes emitted. Movement is coordinated and integrated into the atmosphere.

In dance, we identify an initial stimulus in the spectator who understand the meaning of the integrated body language. But furthermore, and apart from this, the spectator perceives the stimulus associated with movement. Changes of position, change of shapes, etc. are perceived as energy fields by the spectator. For example, if the spectator observes the turn of a body he could also be aware of the generation of a magnetic field in the dancers that gives them energy and even helps them to concentrate. Movements (from one place to another or turns) initiated in a sudden fashion, that is, powerful accelerations, demand very high power consummation that is also perceived by the spectator, etc Finally, another way to describe movement is on the basis of continuous changes in the reference system for the spectator himself, that also requires having recourse to energy.