Any form is the diagram* resulting from the adaptation of the moving internal energies to obstacles created by the environment. The morphology of swirls, osmotic growths, periodic precipitates, indicates the diagram of non-miscible bodies, such as stains of car oil in damp streets, or the layout of two Ripolin* colors. Time would be for us a medium* comparable to a gelatinous water accepting in a rhythmical way transformations occurring with high or less high speeds. The eye is tuned on a certain speed only. Psychologically, a morphology of optical images only relates to the theoretical sections* made at a given moment in the morphological age of the object. I call psychological morphology the diagram of the transformations according to the absorption and the transmission, of the energies in the object from its initial aspect until it reaches its final form in the geodesic psychological medium*. This medium, psychological space-time, is a symbolic congruence of the Euclidian space. The object located in a given moment-point of this medium intercepts the pulsations which are proposing transformations according to an infinity of directions. It is located at the impact point between this encounter and each transformation. The infinity of the chances of interpenetrations missed by the object increases the intensity of the further pulsations during all the time the object will follow this morphological direction.
The concept of a psychological-time medium in which the objects are transforming, leads to compare it with an Euclidian space caught in a rotative and pulsatile transformation in which the object, with each risk of interpenetration may oscillate from point-volume to moment-eternity, from attraction-repulsion to past-future, from light-shadow to matter-movement. The fourth dimension would be the diagram of the risks encountered during the complete duration of the transformations.
In the area of consciousness, a morphological psychology would be the diagram of ideas. It should be conceived before optical images may give us the form of ideas if we want to stay in the transforming medium. The optical image is only a theoretical section* within the morphological fall of the object.
The image is retained* to calm the anxiety. Only one among the possible forms of the object is preserved.
Reality is the sequence of the explosive convulsions modeled in a pulsatile and rotative medium exposed to rhythms. The eye as the agent of memory is a means to simplify. The consciousness of the development of a psychological morphology in the passional or spiritual sense* leads to a pneumo-optics of the object. This pneumo-optics, which is a congruence of perspective, generates the creation of specific sciences. So, the diagram of the idea of a snow ball thrown on a flame shall be a splitting in two without deformation*, whereas the emotional libido awakened by a river or a tree shall be expressed by an osmotic growth in the geodesic psychological medium, true gelatin of blood stained milk in periodic precipitate.
Such a morphology shall be perceived when the eye and the consciousness shall draw the immediate and impulsive diagrams of man's convulsive emotion in a new art. The perception of the growth and of the accidents of objects when achieved simultaneously shall allow to feel the psychological biology of the object. The co-psychology of the opposites in a single idea-object remains pulsatile without deformation* in a psychological morphology, whereas the symbolist trials called paranoia-critique are based on a transformation of optical images in a caricatural sense*. The same happens with the forms of the so-called abstract art.
Roberto Matta, 1938