Published by The Bergen Museum of Art[1] 1998: Electromagnetic energy shapes the colour/photone and curvilineartone span of tonal image art. The laserpower radiance of atoms. The imagetone quantumsystem turns everything into sinewy relations – signalling movement to all our cells. The body builds its world by psychophysiological images. We exist, and exist in, the infinity of perception – matter, identity, intensity, rhythm, and the logic of the cells of our bodies - opening towards the heterogeneous, the void and the exile. The tones of images are, like tones of sound, a unity of dream and act. The information value of imagetones are determined by their frequencies, span, coherence, pulseform, modulation and polarization. The directionality pulse of particlewaves are sinusoidal.Painting/Tonal Image with Laserbrush and Laserfrequency Palette (full text) by Rolf Aamot Archived 15 July 2011 at the Wayback Machine.
Translation of part of article (with one illustration of Rolf Aamot's frescoes at the Natural History Museum in Oslo) in La Lettre de l'OCIM n° 77: 'The frescoes in the Paleontological Museum in Oslo - a special case'. In 1955 [sic] (competition 1953, frescoes finished 1955) a young student at the Norwegian National Academy of Craft and Art Industry, Rolf Aamot, was chosen, by means of a competition, to paint dinosaurs and other creatures of the Secondary (Mesozoic) Era on the walls of the museum. These paintings were originally meant to be an as exact reconstruction as possible, following the scientific advice of the paleontologist Anatol Heintz. Aamot's initial drawings were practically "naturalist reconstructions" but the artist were to let them evolve into a painting of "the soul of the dinosaurs". When contemplating these frescoes today the visitor experiences the same sensations as when facing any other work of art. These dinosaurs are first of all what the artist wanted to create, before being "representations". Rolf Aamot's frescoes are the testimony of an artist on a scientific subject.Emmanuelle Huet, Des dinosaures en représentation.
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Translation of part of article (with one illustration of Rolf Aamot's frescoes at the Natural History Museum in Oslo) in La Lettre de l'OCIM n° 77: 'The frescoes in the Paleontological Museum in Oslo - a special case'. In 1955 [sic] (competition 1953, frescoes finished 1955) a young student at the Norwegian National Academy of Craft and Art Industry, Rolf Aamot, was chosen, by means of a competition, to paint dinosaurs and other creatures of the Secondary (Mesozoic) Era on the walls of the museum. These paintings were originally meant to be an as exact reconstruction as possible, following the scientific advice of the paleontologist Anatol Heintz. Aamot's initial drawings were practically "naturalist reconstructions" but the artist were to let them evolve into a painting of "the soul of the dinosaurs". When contemplating these frescoes today the visitor experiences the same sensations as when facing any other work of art. These dinosaurs are first of all what the artist wanted to create, before being "representations". Rolf Aamot's frescoes are the testimony of an artist on a scientific subject.Emmanuelle Huet, Des dinosaures en représentation.
Published by The Bergen Museum of Art[1] 1998: Electromagnetic energy shapes the colour/photone and curvilineartone span of tonal image art. The laserpower radiance of atoms. The imagetone quantumsystem turns everything into sinewy relations – signalling movement to all our cells. The body builds its world by psychophysiological images. We exist, and exist in, the infinity of perception – matter, identity, intensity, rhythm, and the logic of the cells of our bodies - opening towards the heterogeneous, the void and the exile. The tones of images are, like tones of sound, a unity of dream and act. The information value of imagetones are determined by their frequencies, span, coherence, pulseform, modulation and polarization. The directionality pulse of particlewaves are sinusoidal.Painting/Tonal Image with Laserbrush and Laserfrequency Palette (full text) by Rolf Aamot Archived 15 July 2011 at the Wayback Machine.
Published by The Bergen Museum of Art[1] 1998: Electromagnetic energy shapes the colour/photone and curvilineartone span of tonal image art. The laserpower radiance of atoms. The imagetone quantumsystem turns everything into sinewy relations – signalling movement to all our cells. The body builds its world by psychophysiological images. We exist, and exist in, the infinity of perception – matter, identity, intensity, rhythm, and the logic of the cells of our bodies - opening towards the heterogeneous, the void and the exile. The tones of images are, like tones of sound, a unity of dream and act. The information value of imagetones are determined by their frequencies, span, coherence, pulseform, modulation and polarization. The directionality pulse of particlewaves are sinusoidal.Painting/Tonal Image with Laserbrush and Laserfrequency Palette (full text) by Rolf Aamot Archived 15 July 2011 at the Wayback Machine.
"In English". Dramatiskainstitutet.se. 12 September 2008. Archived from the original on 13 August 2010. Retrieved 12 May 2010.
Published by The Bergen Museum of Art[1] 1998: Electromagnetic energy shapes the colour/photone and curvilineartone span of tonal image art. The laserpower radiance of atoms. The imagetone quantumsystem turns everything into sinewy relations – signalling movement to all our cells. The body builds its world by psychophysiological images. We exist, and exist in, the infinity of perception – matter, identity, intensity, rhythm, and the logic of the cells of our bodies - opening towards the heterogeneous, the void and the exile. The tones of images are, like tones of sound, a unity of dream and act. The information value of imagetones are determined by their frequencies, span, coherence, pulseform, modulation and polarization. The directionality pulse of particlewaves are sinusoidal.Painting/Tonal Image with Laserbrush and Laserfrequency Palette (full text) by Rolf Aamot Archived 15 July 2011 at the Wayback Machine.
Translation of part of article (with one illustration of Rolf Aamot's frescoes at the Natural History Museum in Oslo) in La Lettre de l'OCIM n° 77: 'The frescoes in the Paleontological Museum in Oslo - a special case'. In 1955 [sic] (competition 1953, frescoes finished 1955) a young student at the Norwegian National Academy of Craft and Art Industry, Rolf Aamot, was chosen, by means of a competition, to paint dinosaurs and other creatures of the Secondary (Mesozoic) Era on the walls of the museum. These paintings were originally meant to be an as exact reconstruction as possible, following the scientific advice of the paleontologist Anatol Heintz. Aamot's initial drawings were practically "naturalist reconstructions" but the artist were to let them evolve into a painting of "the soul of the dinosaurs". When contemplating these frescoes today the visitor experiences the same sensations as when facing any other work of art. These dinosaurs are first of all what the artist wanted to create, before being "representations". Rolf Aamot's frescoes are the testimony of an artist on a scientific subject.Emmanuelle Huet, Des dinosaures en représentation.
