Sunday
I wonder...
1
does sophistication today, or a cultural sophistication, come through an ability analyse microscopically material production to such a subtle connotative extent of meaning (sign and signifier)
why can meaning not be more inherent? why this elitism of material understanding
2
synchronicity
uncanny or recanny?
3
about the dialectic and language of ridicule
4
ALL PROCESSES AT THE LOWER LEVEL OF A HIERARCHY ARE RESTRAINED BY AND ACT IN CONFORMITY TO THE LAWS OF THE HIGHER LEVEL.
5the ideological arrogance of the artist---
is it perhaps evolution, and therefore inevitable?
that more and more young people consider themselves artists- because the are feeding off the growing collective conscious tell us that "life must be rebuilt as a sculpture" Beuys
6
the majority of investigations in this research have been largely conspiratorially led; the unearthing of a concealed truth, unmasking the ulterior motives of those who most stand to profit, etc.
this further goes to show the significance of the issues at stake.
7
i just want the apocalypse to happen in front of my disintegrating eyes so that I can say, "I fucking knew it".
8
taking as an example the inexplicability of natural instinct (the supersensory ability to preemptively identify dangerous situations- poison and antedote)- were this primordial ability to be curbed by man in his civilisational quest, is it possible that it now manifests itself in other forms- guessing answers in multiple choice questions, knowing who is about to send you a telephone call etc.
9
conspiracy of mediocrity
are television programs made with the cynical intention to hypnotise the populace into a state of lulled indifference ? are we being battery farmed by the evil cabal pulling the new world order string?
or perhaps this is instead the work of ahriman?
tv execs are simply doing the best they can for themselves, doing what sells and following the modernist progressive ethos- but it is those ahrimanic spirits installed in modern technology that instead invoke this apathy and laziness and ignorance.
10
pioneers made to look like freaks, oddities, loons unless it is in a commercial sphere.
11
THE ARROGANCE OF ARTISTIC PRACTISE OVER ALL OTHER PRACTICES
art serving as a nostalgic reminder of the freedoms experience before civilisation- a portal of consciousness
12
is there an answer to anything anymore??
is the best one can do simply offer insight?
the academic exercise is to study the conclusions of others throughout history, analyse them to the degree that we form our own conclusions. In the fields of natural and social sciences, and in the theoretical spheres of humanities and the arts, hypotheses are constantly being corrected, tweaked, undergoing reanalysis and recontextualisation. Where does this process end? Most probably there will never be an suitable answer, and we should stop trying- at least under the current modes of learning. perhaps the answers are more kinetically understood, more anthroposophic.
ANTHROPOSOPHIC- PRIVATE EDUCATIONAL CULT
13
finding this book, like many of the others, on the shelf (amsterdamexhibit) of the brotherton, has included most of the scientists I have already encountered. is this syncronicity? is there a purpose for me writing this essay?
or is it simply causational? have i, as and art student, mearly recognised the kind of scientist that the art community would interest themselves with?
14 What better way to address the certes catastrophic problems of global war and ecological suicide then to allegorise it in a terrying and romanic psychic apocalyptic illusion?
art psience
15
all disciplines of human endeavor, art included, are governed by the arbitrary laws of subjectivity and objectivity of science.
are SUBJECTIVITY and OBJECTIVITY totally interchangeable words???
16
the search for spirituality or higher meaning and the escape from the banal through culture and the cultural banal
17
art serving as a nostalgic reminder of the freedoms experience before civilisation- a portal of consciousness
18
where are we headed? where is the future? as we are being stripped of all ancient clutches, are we moving further into the cleansed scientific (science fiction) Gattican world of protocol and economic system? is this the route back to Ontos- to clear the mind of all distraction until we eventually, through rigorous evolutionary programming, reach nirvana?
19
the search for truth is the search for self. knowing who you are- if I don't know where I'm coming from, where do I go? the old cliche strikes true when subscribing to the the theory of a collective consciousness... why are the french more willing to revolt and strike than the english? what brings about national characteristic?
20
INSPIRATION COMES AS A RESULT OF CONSTRICTION, OR,, AWARENESS OF CONSTRICTION ON A CONSCIOUS LEVEL . INSPIRATION IS THEREFORE A PSYCHIC EVENT.
21
Between OCCULTISM and MYSTICISM
Feeling and studying
ANTHROPOSOPHY
22
to laugh is to understand
23
notice how in our technological culture we can enthusiastically embrace Gibson's cyper-punk vision of voodoo and evil far more readily than we can Steiner theosophical visions of angels and grace. in literature dystopias are always far more compelling than vapid clerical visions of heavenly virtue
24
HOLISTIC/ DOWNWARD CAUSATION APPOACH- AKIN WITH NON STOP INFORMATIONAL OVERLOAD SYSTEM OF CULTURE TODAY. PEOPLE WANT TO KNOW EVERYTHING IN THE INSTANT. D J-ING, ART J-ING -VARIETY. COULD THERE BE AN ‘EVOLUTIONARY’ EXPLANATION? COULD THERE BE MEAING TO THIS PHENOMENON
Eureka Geller - Artist
Uri Geller: the Painter
Geller in his New York studio, 1974
An article by Uri Geller on painting.
Some hospices are already using healing art to heal patients' hearts and some corporations are experimenting with healing art to create better workplaces by displaying vibrant paintings in their conference rooms in order to inspire their employees, and by hanging relaxing paintings on the wall of their interview rooms to ease the tension. Mr. Shibuya says, "Paintings can are a kind of medicine that works on people's mind. When they are used appropriately they are useful, but when misused, they can cause a side effect."
"This is a masterpiece, I'm convinced of it. It's absolutely brilliant - wonderful influences: Klimt, Dali, Picasso in the eyes, Mattise in the line. It should have fetched a fortune." - David Lee; foremost art critic and publisher of The Jacksaw - A News Letter for the Visual Arts
Uri Geller and David Hockney with bent spoon, circa 2005. There is no evidence that links any Hockney influence in Geller's works.
Geller the Sculptor:
For years, renowned psychic Uri Geller has captivated audiences around the world with mysterious feats of psychic spoon-bending, watch-starting, and clock-stopping.
Geller in his New York studio, 1974
An article by Uri Geller on painting.
Healing Power of Paintings
Healing Art is a way to relieve tension and get rid of stress by looking at special paintings. There is a lot of information in paintings that cannot be expressed by words and that kind of information is considered to influence one's state of mind.
Kiyofumi Aoshima, a manager at a fitness club says: "Our members' (customers') reaction changed when we changed paintings on the wall. "The club now hangs "healing art" paintings on every floor. Each painting is chosen specifically for a specific purpose by a healing art specialist.
Blue Abstract Paintings Can Calm You
Rooms used after exercise and rooms for relaxation have blue abstract paintings which remind you of water and universe. They used to display paintings of wind surfing. After they started to display healing art paintings, a customer who comes to the club to overcome his depression says he's been feeling cheerful, and a stressed-out customer says that he now can relax more. They now have a vibrant abstract painting in the instructors' room in order to make them want to work hard. In the counseling room for psychosomatic patients, they display a painting which is supposed to ease tension.
Hiromi Shibuya, an owner of an art gallery says. "People unconsciously get influenced tremendously by paintings." He says that harmonious paintings that remind you of universe or the earth are suitable for workplaces because you can imagine universe and the earth in your mind and it can make you feel relaxed and give you drive to work hard.
Van Gogh Can Make You Depressed
On the contrary, opinionated paintings like Van Gogh's can make sensitive people feel depressed. Mr. Shibuya says "In workplaces, you must display paintings that make you feel alive."
Ryoji Tokuda, Chairman of Japanese Healing Art Society, Deputy Director at Hasegawa Hospital, says "Human mind is susceptible to non-language information. When you look at paintings, you get influenced psychologically by something that comes out from behind the paintings." For a long time Doctor Hasegawa has been experimenting an art therapy in which he cures his patients by letting them paint what they feel inside. He says paintings by patients with mental suffering show the pain and suffering of the patients. Paintings by Edvard Munch are artistic but are not suitable for workplaces. Doctor Hasegawa says that paintings can cut both ways so we can use paintings to motivate people.
Corporations Are Interested in Healing ArtSome hospices are already using healing art to heal patients' hearts and some corporations are experimenting with healing art to create better workplaces by displaying vibrant paintings in their conference rooms in order to inspire their employees, and by hanging relaxing paintings on the wall of their interview rooms to ease the tension. Mr. Shibuya says, "Paintings can are a kind of medicine that works on people's mind. When they are used appropriately they are useful, but when misused, they can cause a side effect."
"This is a masterpiece, I'm convinced of it. It's absolutely brilliant - wonderful influences: Klimt, Dali, Picasso in the eyes, Mattise in the line. It should have fetched a fortune." - David Lee; foremost art critic and publisher of The Jacksaw - A News Letter for the Visual Arts
Uri Geller and David Hockney with bent spoon, circa 2005. There is no evidence that links any Hockney influence in Geller's works.
Geller the Sculptor:
For years, renowned psychic Uri Geller has captivated audiences around the world with mysterious feats of psychic spoon-bending, watch-starting, and clock-stopping.
Now, he has created an art car called the Geller Effect, a custom-built 1976 Cadillac decorated with some 5,000 pieces of contorted cutlery, attached to the car's body. Often imbedded with semi-precious stones and crystals, many pieces were once owned, used, or touched by famous personalities. The hood ornament is a rare rock crystal globe once owned by surrealist painter, Salvador Dali. Geller bent much of the cutlery with his legendary psychic powers, while the rest were manually shaped by his Israeli friend and sculptor, Avi Pines. The Geller Effect includes several original pieces salvaged from his 25 years of metal bending, plus a number from his personal celebrity collection. The word "peace" is incorporated into the design in several languages, including Arabic and Hebrew. Geller will drive the Geller Effect to Jordan, Egypt, Lebanon, Syria, Iraq, and Iran in support of peace in the Middle East.
In the 1970's Uri Geller was a "pupil" to Salvador Dali, who was a great mentor to Uri influencing his art style. Uri was also influenced by Peter Max, Andy Warhol, and Picasso who he also met.
WIT's Yantra
To think about ideas is to develop a theory, a hypothesis which, if tested by a return to the hot red plane of sense events, gives one scientific model of experience. But, ironically, to gain theoretical information, one moves toward high level of abstraction where the hot and immediate plane of events is left far behind. If one continues this process to develop a theory of theories, a structure of structures, a metalanguage, metamathematics, or metaphysics, then he moves further away from the plane of experience into the plane of pure abstraction. Here on the cool green plane of level IV, Logos, we encounter the paradox that there is an inverse relationship between sense experience and certainty: to the degree that (when) one develops an advanced science of nature one leaves the sense experience behind. The further we go into the yantra, the further we are into the cool shades of contemplation and the further we are the hot immediacy of events. At the level of Logos, there is the knower and the known, the primary duality, for two green triangles spring from the yellow plane of III to point toward the fourth plane, the green plane of Logos. But the structure of structures reflects the known back into the knower, for the Logos is not simply the structure by which the brain processes information, it is the formula by which the nerves fire and the stars pulse; it is the intelligibility principle that orders all forms: stars, nerves, crystals. The form which underlies all forms points to something beyond form, beyond knower and known. As we contrast physical consciousness to the vanishing point, knower and known dissolve into a single cosmic consciousness, and the point expands to infinity in a new dimension. From the green plane of Logos there are springs in the single triangle that points to the Point, pure Being. In terms of the Plotinus, this is the First Hypostasis, God the Father, Brahman beyond the creative universe itself. In the yantra pure Being is the color of ultraviolet, the sacred purple, for as the hot red of sensation is blended with the cool blue of contemplation, the spiritual resolution of is expressed as purple. It is not without reason that purple has always been revered as the spiritual color and that the amethyst was chosen for the stone of the bishop’s ring.
When sensory consciousness begins to narrow, it discovers that there is another consciousness that widens in reciprocity with the others narrowing. On the red plane of Chaos, the triangle of Ontos is a tiny invisible point, but by the time we reach the center in Ontos, the triangle is at its widest. Then God is visible. At the level of physical sensation and Chaos, God is not visible. God is to the universe what grammar is to a language; just as I cannot rip the grammar of English out of my mouth to prove to you that it exists, so I can’t rip God out of the physical universe to show Him to you and prove that He exists.
If the progression from Event to Logos seems abstract, then we can consider the lower line of the triangle, which express the same set of relationships in terms of sound. Since the Hopis and the Hindus say that the universe is music, not matter, that all is energy and vibration, then sound is a primary expression of the levels of consciousness.
At the first level, the red plane, is physical sound. As we move inward, we come to patterned sound, to Melody. As melodies are articulated with one another, and the principles of counterpoint and harmony are developed, we approach the grammar of the language of sound, level III, Harmony. As we continue to move inward, we approach the music of music, the harmony of all harmonies, the metamusic that the Indians call the Nadam and the Kelper called the “Music of Spheres”. This Nadam is the sounds one listens to in meditation, the orchestration of all sounds, of every electron in its orbit and every planet in its orb.
Thus these levels of sounds correspond to levels and planes of consciousness. The dog hears sounds, the child hears melodies, the musician hears harmonies, and the mystic hears the Nadam. These four planes of consciousness move in ascending order tp the point of Ontos; once we are in Ontos, we can then move in descending order of consciousness back to the physical plane of sounds. In the yantra this is expressed as going through the point from the left to the right and moving out of the major triangle on the left into the major triangle on the right. There we move from the pure Being of Ontos to plane I (the blue line), Nirbikalpa Samadhi. This is the highest state of mystical consciousness for man, the state of being in which one is conscious of God and man at the same time. This is the consciousness of the Gods. The second and lower state of Samandhi (expressed in the green line) is Sabikalpa Samadhi. This is the consciousness of the yogi who must close his eyes and withdraw from the world in meditation to see God. For an advanced yogi in nirbikalpa samadhi, meditation is not longer the only way to God; he continually sees God as the ground to any figure that might be before him. When we come down from the two stages of Samadhi to level II, Reflection, we come to the intellectual plane of consciousness in which the artist and scientist to their work. The rational plane of being expresses the present evolutionary level of man. As we move down to the next level, III, we come to Consciousness; this is the level of animals. Beyond that is level IV, Sentience, the level of irritability of plants.
"It's something that has occupied artists for centuries, from Blake right through to surrealism- even early modernists like Kandinsky were influenced by occult beliefs. But as an artist practising now I feel it's less important for me to establish what kind of reality all these phenomena exist in. In many ways the possibility that much of this material has been fabricated by very human hands presents me with more opportunities. The fact is, that each and every phenomenon we're discussing exists in some way, at the very least in a cultural space."
Events that are too large to be perceived in immediate history register in the unconscious in the collective form of myth, and since artists and visionaries possess strongly mythopeotic imaginations, they can express in the microcosm of the works what is going on in the macrocosm of mankind.
Eric Hobsbawm
JUST AS WE CORRAL BEASTS TO KEEP THEM IN THEIR PLACE FOR OUR USE, AND AS WE SIT ON THE FENCE AND WATCH THEM RUMINATE ALL DAY LONG, WE WONDER HOW THEY CAN STAND TO EAT ALL THE TIME; SO DO THE GODS AND DEMONS CORRAL US INTO HISTORY, AND AS THEY SIT ON THE EDGE, WONDER HOW WE CAN STAND TO THINK ALL DAY LONG?
WILLIAM IRWIN THOMPSON
Tuesday
Subscribe to:
Posts (Atom)
