The topic of study is not to dissect how the animation sequence(s) are structured and related, but rather to determine the congruity of the rotational motion conveyed, and how it rhythms the animation with slow downs and acceleration. Our observation is focused on the accuracy of the elusive forms (arbitrary water bubbles or not) actually seen, and not how the animation is achieved. The technology device used to render motion behavior is not the issue debated in our paper, but rather the resulting visual impact of motion, and what lies behind its apparent simplicity. The phenomenon is intriguing if we consider for the sake of our paper that the toroidal tension could very well take place in differing spatial environment, where forms would be considered to be rotating doughnut shapes.
How would it affect the toroidal tension ?
Consider that the boundaries of motion (space definition and perimeter) are not precisely determined. What we observe, is a close view of glowing forms involved in a dualistic (magnet parameter between forms is unknown) but coordinated motion of dilation. The forms are dwelling in a dense and seemingly inertial surrounding (black matter) of striking uniformity, as opposed to the airiness of forms involved in perpetual transformation. The energy of black matter is not accountable, which makes difficult to assess its level of interaction with the bright ring forms. The surrounding is an entangled foreground and background that contains no light, and whose alleged force remains unexplained.
Suppose the dwelling forms were not in a spin motion, that would affect the dynamic of the surrounding, and make it appear two-dimensional. However, the positioning of the shapes does not confirm that hypothesis. The rings are placed at a given distance from one another, on a diagonal that breaks through space regardless of its visible or hidden dimension(s). Such observation pleads for a three-dimensional surrounding, hence enabling the spin to occur, and to be observed this way. The animation is based on the high contrast of light and shade which enhances the dilation effect reaching a climax, although what caused it remains mysterious, since we are not able to assess what dark matter is made of (fluid or field) and how much energy is bottled in our animation. The dark matter of the surrounding shows through, neighbor to color that is self-propagating under the thin skin, sort of tactile membrane, clearly reactive to the radiation of energy. The thinness of the breathing skin allows dark matter to be part of the motion of shapes, although we are not able to determine how.
The shapes appear translucent to semi-translucent due to a shifting palette of vivid blue such as turquoise, to soft blue. The distribution of color is partial with peaks of intensity, caused by motion. The palette is alive and more so, the illustrated vibrating and rotating rings.
Our observation points out the connection and similarity between both forms, despite the fact their geometry does not spouse a perfect circle. The gestating body of the rings is uneven (wavy effect) and translates a vibrating force triggered from inside, remindful of an inner breath.
The same form is duplicated in a different size, subject to variability because of its interaction (attraction) with its sister form. Both forms are calibrated on one another, in order for each in turn, to change size. The change of size regulates the height and width adjustments between the forms in rotational motion, and allows a smooth shift of position. Change of size is compulsory (adaptability) for both of them. One must retrieve, for the sister form to proceed forward and vice versa. Indeed, we notice that the surrounding allows the duplicated shapes to transform, (first change from an initial state) and to do so, while forms change positions (second change of an initial state), with one another, without inflicting a detectable visual impact on the surrounding. The final change is a retrieval to the initial state. The flowing motion is doable due to the lack of obstacle to prevent the above mentioned states to proceed. In other words, black matter regardless of its density, allows (flexibility of invisible matter) a directional motion to take place. Further, the motion runs in a loop, till an unexpected acceleration precedes a change of axial observation; such unpredictable velocity variation, is the prelude of the second and final sequence where the forms are observed with a upper front view.
The parameters of observation are based on the linked states of dilation taking the form of a circle going into another avoiding contact.
The rhythms are synchronized in both sequences and are the perfect illustration of transient motions.
A dilation or stretch factor is a transformation that produces an image of the same shape as the meta form, but introduces a different size (scale factor). The dilation either stretches or shrinks the original figure. Both states are varied performances of constant attraction exerted with sustained motion.
Constancy and change of state are combined and propels energy hence, light which does not come from the dark surrounding but indeed from the forms themselves.
Consider therefore the velocity of motion observed.
The perpetual motion is carried on, with a transformative (degree) velocity, composed of a slow down of the actual motion, prior to an acceleration bringing a new velocity again. The observation introduces here the subjective notion of perception of time. The intensity of motion owes nothing to friction or rubbing since there are none observed. The velocity is linked to the recursive degree of dilation observed and produces a glowing and flowing motion. The perpetual motion going forward and backwards is propagating energy in a closed loop, since no apparent interference from the surrounding prevents the motion from modifying its stretch factor.
The distance between the forms seems consistent and not subject to variability. The dilation affects only temporarily the distance between them, without implying any contact between the forms.
The dilation outlines the plasticity of shapes, making them alive, although the stimulus that triggers motion (other than ourselves) remains undetermined.
By Sylvie Samani