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 Parallel Emotional Systems (PES) proposes a new way of understanding painting. PES — A New Theory of Painting. Article II. Parallel Emotional Systems (PES), Alain Polanski. A painting is not merely a static image or a finished composition. It is a dynamic system in which matter, time and emotion remain active. In PES, the material structure of the painting is not simply a support for representation. Pigment, texture, density, transparency and successive layers become active components of the work. Time is internal to the painting. Every layer contains traces of previous states, transformations and decisions. The work therefore does not exist only as a final image — it carries its own temporal structure. Emotion is also structural. It does not function merely as a subject represented by the artist, but as a force embedded in the organization and material evolution of the work. This leads to one of the central principles of Parallel Emotional Systems: The image stops moving, but doe...

 PES — Parallel Emotional Systems A New Theory of Painting by Alain Polanski PES versus the Great Theories of Painting — From Leonardo da Vinci to Parallel Emotional Systems ARTICLE I — PES versus the Great Theories of Painting From Leonardo da Vinci to Parallel Emotional Systems Throughout the history of painting, major theories have changed not only the way artists create images, but also the way we understand what a painting can be. From Leonardo da Vinci and the Renaissance conception of painting, through the transformations introduced by modernism and abstraction, to the theoretical positions of Kandinsky, Mondrian and Clement Greenberg, painting has repeatedly redefined its own boundaries. Parallel Emotional Systems (PES) enters this historical dialogue from a contemporary perspective. Created by Alain Polanski, PES is proposed as a new theory of painting. It understands the artwork not as a static and definitively completed image, but as a dynamic system in which matter, tim...

Perception Phase Research Question Can perception participate directly in image formation? Can perception participate directly in image formation? Central Proposition The image does not emerge solely from material interactions. Material interactions are already in motion before perception stabilizes the image. It also emerges through the perceptual activity of the observer. Within PES , perception functions as an active variable capable of organizing fragmented visual information into temporary coherence. Key Concepts Viewer as System Component Perception begins to reorganize fragments into temporary coherence. Reconstruction of Meaning Emotional Interference Emergent Perception Participatory Observation https://youtube.com/shorts/L___R8qRM-A?si=mMVUrK97J6llayGj ObservationPES Process Archive — perception as an active field of image formation A painting may contain multiple potential structures simultaneously. Different observers may stabilize different interpretations without altering...

PES Material Time defines painting as a temporal system rather than a visual composition. Time in painting is not external. It is embedded in material behavior. Temporal states of paint layers: drying,absorption and transformation within PES  Pigments, resins, oils, and tempera systems evolve through drying, layering, and interaction. Each layer represents a different temporal state of matter. Pigment behavior through time and transformation  Painting becomes a record of material duration and transformation. Tetemporal residue embedded in the surface In this framework, time is not linear but stratified. The surface contains accumulated temporal decisions that form perception. PES Material Time... https://youtube.com/shorts/KHELl6CED4Y?si=uuKyFSt9hYfbNrUR ...describes painting as a stratified temporal system where matter accumulates and transforms through time-based processes. https://monpetitlouvre.medium. com/pes-mterial-time-when- matter-becomes-temporal- structure ⁠ Alain...

PES Material Systems define painting as a physical and temporal structure rather than a visual representation. Painting is constructed through interactions between pigments, binders, resins, oils, tempera systems, and support surfaces. Emergence through material interaction during the formation of Before the Image In this framework: pigment behaves as material energy resin defines temporal stabilization oil and tempera regulate material flow support defines structural tension PES Material Systems : surface activation before image formation Painting is not image production. It is material organization in the time. Emergence through material interaction during the formation of Before the Image   The surface becomes a stratified field of physical decisions where perception emerges as a secondary effect. PES Process Video Matter in transition : pigment mixing, surface activation, and material formation during the development of Before the Image. https://youtube.com/shorts/KHELl...

PES - Before the Image: Fragmented Synchrony  PES – Parallel Emotional Systems defines painting as a material and perceptual system rather than representation. The system is structured through four fundamental states: • Threshold State – emergence of instability • Emotional Stratification – layered memory in matter • Thermal Dissolution – energy and transformation of surface • Dynamic Trace – residual movement after disappearance Time is embedded within material layers rather than existing outside them. Perception emerges before recognition. The image is not constructed as a fixed representation. It stabilizes temporarily through the interaction of multiple systems operating simultaneously. PES proposes a framework for understanding contemporary painting as a process of emergence, where material, time, and perception form a dynamic field of relations. Read the full article: https://monpetitlouvre.medium.com/pes-full-system-architecture-parallel-emotional-systems-as-a-material-theo...