DIMENSIONALISM MANIFESTO

DIMENSIONALISM MANIFESTO About This Statement This document articulates the foundational principles of Dimensionalism, an artistic philosophy developed by Shilowska Pretto through a body of transmissions retrieved over a period of deep perceptual reorientation. Dimensionalism does not emerge from critique or rebellion. It is not a style, trend, or manifesto in the conventional sense. It is the record of a shift, an ontological, cognitive, and aesthetic divergence that requires its own architecture, guided by a radical premise: True vision does not begin with seeing. It begins with deprogramming. Rather than announcing itself through spectacle or opposition, Dimensionalism establishes a new frequency of attention. Its aim is to disrupt the perceptual mechanisms that have been trained to recognize the world in only one way, rather than simply reflecting it. I. Origins Dimensionalism did not begin as a theory. It emerged from the lived experience of perceptual fracture, an inner rupture that made familiar forms unintelligible, and forced the construction of a new visual language. This language did not arise from imagination or narrative. It appeared in the form of visual transmissions, nonlinear, insistent signals that bypassed thought and asked to be sealed into form. These transmissions became what are now called quantum imprints. Their purpose was never to illustrate or explain. Their function is to interfere with the structure of recognition itself. What emerged through this process became more than a sequence of images; it formed a terrain where perception is reshaped at its root. II. Dimensional Cognition In Dimensionalism, form is no longer tasked with explanation or appeal, it becomes a frequency that alters how perception arranges itself. Each quantum imprint is a constructed field, a cognitive disruptor designed to shift internal rhythm, dissolve habitual meaning, and open the space for a different form of intelligence to surface. The viewer is treated as an organ of perception, active, intelligent, and responsive. Dimensionalism assumes that complexity can be felt without needing to be solved. There is no resolution, no theme, no statement, meaning is suspended. What remains is the act of entry. This work belongs to what comes next. It draws its structure from an inquiry into how form behaves as signal, outside the inherited codes of the present art world. III. Perception as Architecture Experience does not arrive on its own, perception builds the framework through which it becomes real. What we believe to be reality is shaped by learned filters, trained priorities, and coded attention. When those filters are interrupted, the structure of life begins to shift, not metaphorically, but neurologically, emotionally, and energetically. Dimensionalism functions as a tool of perceptual reconfiguration. It interrupts inherited formatting and proposes the construction of new perceptual pathways, ones not limited by language, representation, or identity. To see differently is not merely to interpret the world in a new way. It is to inhabit an entirely different range of choices, emotions, and possibilities. IV. The Image as Carrier In Dimensionalism, the image no longer serves representation. Its purpose is not to mirror reality or perform meaning. It becomes a carrier of latent frequency activated only through direct perceptual resonance. Each piece is a deliberately composed environment of disruption. These visual fields are engineered to produce minor collapses in cognitive patterning, allowing a subtler form of perception to surface. Interpretation fades in importance; what remains essential is presence. V. Refusal of Representation The visible world is not the site of Dimensionalist inquiry. These transmissions do not depict bodies, symbols, or autobiographical concerns. They operate outside recognition. This refusal emerges from necessity, both technical and philosophical. As long as form clings to the already visible, it forfeits its generative power. The work begins in the instability of form, in the interval before meaning takes hold. VI. Integration of Science and Symbol While grounded in aesthetics, Dimensionalism is aligned with contemporary inquiries in neuroscience, quantum coherence theory, and symbolic cognition. The work is not decorative. It is structured according to its own internal logic, anchored in signal, symmetry, vibration, ambiguity, and precision. Its transmissions are visually unfamiliar because they are designed to reach unfamiliar perceptual circuits. VII. Departure from Identity and Irony Dimensionalism is not configured through gender, biography, or sociopolitical positioning. It acknowledges the relevance of these frameworks but does not rely on them for its authority. It proceeds through a different logic, structured by signal coherence rather than critique. VIII. Construction of New Fields Dimensionalism proposes that perception is programmable, and therefore reprogrammable. By engaging with unfamiliar signals, the viewer participates in the construction of new internal environments. These shifts do not remain within the frame. They extend to cognition, memory, emotion, and choice. The implications exceed aesthetics. They touch the infrastructure of time, space, and self. IX. Aesthetic Sincerity and Signal Fidelity In an era saturated with self-reference and conceptual irony, Dimensionalism moves through form with a different intention. Sincerity becomes a technical tool, shaping perception without theatricality or citation. Each visual field builds meaning from within, without leaning on quotation or nostalgia. The axis has already shifted. X. Closing Statement Dimensionalism operates outside of stylistic boundaries. It generates a frequency field, a visual, cognitive, and philosophical configuration through which new modes of perception, and new dimensions of life, can emerge. Shilowska Pretto Founder of Dimensionalism Artist, Theorist, Frequency Architect San José, Costa Rica - 2025 Archived by the Archive for Trans-Contextual Inquiry (ATI Institute), Seoul/Berlin