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Art can encode states and cognitive stages. (This is medium specific.)
With regard to Jacobson’s automatic drawing:
Stages
A Renaissance painting in one point linear perspective – the objectification of the 1st person stance, as the point of view (which is the node of order of the visible field) is built into the pictorial scheme itself, is objectified. This is an expression of orange cognition.
Too quickly said, an analytic cubist painting multiplies and fractures such linear perspective into an open-ended dance. This is an expression of green cognition.
The best of synthetic cubist collage (example one and two) appropriates disparate categories of content (table, person, script), levels of pictorial reality (drawing of cup, actual newspaper, manufactured trompe l’oeil wallpaper), materials (both traditional for fine arts; and non-traditional drawn from the everyday industrial commodity world). Whence the composition maintains and displays these categorical differences and at the same time unifies them into a greater (aesthetic) whole. The parts are not subsumed into the larger whole to which they contribute, but retain their respective distinct differences of type of content, level of pictorial reality, and artistic status of material (whereas to the extent that analytic cubist painting has unity, such differences are less clear-cut). If only with the very best of synthetic cubist collage, this is an expression of second tier cognition – think of the quadrant model, the distinctiveness of elements in a given quadrant from those in others, the matrix demonstrating the higher interrelations and integration of the various quadrants, without reducing and in fact maintaining quadrant distinctiveness.
Philip’s automatic drawing has a similar syntactical/part-whole structure, but goes beyond early twentieth synthetic cubist collage in its stronger sense of overall compositional unity: a decisive expression of integral cognition -- still rare in the visual arts.
States
The unity in diversity of the composition, the fluctuating, oscillating and scintillating nature of and relationships among forms, the sense, in places, of shimmering radiance emerging from void, point to the luminous non-dual Real. That is, the drawing encodes subtle radiance (a state that can be stabilized via training) while indicating the non-dual character of forms in their interlocking unity (the “stateless state” as always already if not always evident), here and there metaphorically hinting at clear light ground luminosity.
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