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Meeting Point in the Mind: Essay about Sound, Experience and Synchronicity and Bibliography {September 2006}

M e  e  t  i  n  g       p  o  i  n  t       i  n       t  h  e         m  i  n  d

Poem by Rainer Maria Rilke,
“If you will cling to Nature, to the simple in Nature, to the little things that hardly anyone sees, and that can so unexpectedly become big and beyond measuring; if you have this love of inconsiderable things and seek quite simply, as one who serves, to win the confidence of what seems poor: then everything will become easier, more coherent and somehow more conciliatory for you, not in your intellect, perhaps, which lags marvelling behind, but in your inmost consciousness, waking and cognisance” {Buchanan-Smith, 2001}.                                                                    

 Introduction

This essay is intended as a personal dissemination of my practice and reinvention of the direction in which my work will now travel - its principle aim is to clarify my personal world view and its relationship to my creative approach. 

In the broadest sense my work is about contemplation and bringing our attention to the subtleties of nature through the observation of micro environments. For me, life is a journey of understanding and art can help to broaden our understanding of life. Understanding is an on-going and complicated process. There are always worlds beyond the worlds we are aware of, as we are limited by our senses and understanding. As film director Lucrecia Martel says, ‘… most things in the world are hidden’{Martel, 2004}. Bill Viola has also commented, ‘ The invisible is always so much more present than the visible’ {Viola ,1995, 271}.

I feel that to comprehend our understanding we must acknowledge that it is a constantly shifting view of reality. Reality is always interpreted in so many different ways depending on who we are and how we are looking, listening, and approaching things. As Hannah Aarent puts it, ‘understanding is unpredictable, and a sensitive meeting with reality and resistance, what ever reality means’ {Aarent, 2005}.

Underlying principles

 Within my art making process I see synchronicity, intuition, gathering, experiences and observations as working mechanisms. Real life situations and experiences stimulate further exploration of ideas and deeper investigations in to phenomena. My work reflects a moment in time where something was realised, something that was found – a sound, material, event or thought. This I see as an exchange and meeting point with the internal and external world. Nature acts in my artistic language as a metaphor. It helps to connect abstract ideas of the mind with the physical world. Alongside the inspiration from the natural world, I also connect and utilise influential aspects of different approaches in art, such as oriental values and a wide range of other mediums that offer my practice different insights.    

PART 1.

Perception and Understanding

‘He looked at his own soul with a telescope. What seemed all irregular, he saw and shewed to be beautiful constellations: and he added to the consciousness hidden worlds within worlds’ {Jung, 1963, 9}.

The world has become so complex and vast that I want to gain the opposite effect through my art. The faster and vaster the world becomes, the slower, smaller and quieter I want my art to be. As I have mentioned the process of understanding is integral to my practice - consequently I now inquire in to the nature of perception in relation to my personal aesthetic. Contemporary artists, such as Wolfgang Laib, Reiko Koto and Stephen Turner have been looking for different ways of bringing the focus of art as product closer to impermanent qualities.

Marshall Berman confirms my thoughts on the significance of being in the current world. He writes that ‘…the process of modernization expends to take in virtually the whole world, and the developing world culture of modernism achieves spectacular triumphs in the art and thought. On the other hand, as the modern public expands, it shatters into a multitude of fragments, speaking incommensurable private languages; the idea of modernity, conceived in numerous fragmentary ways, loses much of its vividness, resonance and depth, and looses its capacity to organize and give meaning to people’s lives. As a result of all this, we find ourselves today in the midst of a modern age that has lost touch with the roots of its own modernity’. {Berman, 1982, 17}.

Through focussing upon transient qualities we immediately are able to embrace the organic existence of natural processes and our connection to them.

I work with ideas that are reflecting my experiences with nature. Japanese sound artist Akio Suzuki says, ‘nature is my teacher’{Suzuki ,2005}. He operates between sound and visual art. I saw his work in the show, Playing John Cage at the Arnolfini gallery in February 2006. He created listening points outside the gallery space, simply marking the places with circular signs inscribed with two specula figures which at once represented a pair of ears and two human footprints. This was created to invite people to pause there for a moment, paying attention to the surrounding space/time continuum. This allowed the participants to simply use their eyes and ears, to perceive the world in a new way.

This way of looking at the world brought me to think of ideas based in Chinese philosophy. One of the oldest and most central ideas is that of Tao, which Richard Wilhelm interprets as ‘meaning’. Wilhelm wrote, ‘Nothing’ is evidently ‘meaning’ or ‘purpose’, and it is only called Nothing because it does not appear of the world of senses but is only its organizer’ {Jung, 1995, 71}. I feel that this contemplative approach in art making and observation, this slow and quiet reflective state of mind, can offer sensations that take our mind towards feeling the invisible and less obvious ways of the world.

 Poem by Lao-tzu:

‘ Because the eye gazes but can catch no glimpse of it,

 It is called elusive.

 Because the ear listens but cannot hear it,

 It is called the rarefied.

 Because the hand feels for it but cannot find it,

 It is called the infinitesimal…

 These are called the shapeless shapes,

 Form without form,

 Vague semblances.

 Go towards them, and you can see no front;

 Go after them, and you see no rear.’                                           

{Jung, 1995, 72} 

I try to gain simplicity in my art by editing the unnecessary.  Art can create space in the mind through simplicity which can open a fresh angle upon the world. I wish to concentrate on the small and subtle qualities that can bring us to a sense of space within ourselves, and help connect us to the world around. Truly, by paying attention we can enter deeper into the soft experience of sensing the moment. The smallest and most ordinary of things can hide a seed of revelation, and through our careful relationship to these things, the seeds are enabled to blossom. I feel that the following quote by John Cage supports a similar understanding of this subtle awareness with our experiences and observations,

                                              ‘ … when we make

                                                                   music

                                we merely make something 

                                                                 that

                                                                    can

                                                 more naturally be heard, than seen or touched

                                                 that makes It possible

                                                 to pay atteNtion

                                                                to Daily work or play

                                                             as bEing

                                                               noT

                                                    what wE think it is

                                                      but ouR goal

                           all that’s needed is a fraMe

                             a change of mental attItude

                                           amplificatioN

                                                          wAiting for a bus

                               we’re present at the Concert

                                                 suddenlY

                    we stand on a work of art, the pavement.

{Cage, 1997, 136}.

 The previous passage forms the word INDETERMINACY and makes reference to his own personal experience while opening an insight to his world view. Similarly this is what I hope to achieve with my own practice. 

Observation and participation

My approach to art-making is determined by the observation of and participation in particular moments that take place. This takes place in a variety of ways through recording, using an audio, visual and written language. Process is driven intuitively. As it grows and develops into a more focussed investigation it enhances a clearer understanding of the work. Johann Wolfgang Goethe, a man of sensitive science,  comments - ‘Every act of looking turns into observation, every act of observation turns into reflection, every act of reflection turns into making associations; thus it is evident that we theorize every time we look carefully at the world’ {Naydler,2000, 90}.

Part of my approach is to be open and playful in order to draw inspiration from the most unexpected of places. It is, in a way, always about approaching the element of the unknown with a curiosity and faith in possibilities.

My approach involves open-ended investigations into micro environments. When I am looking into these arrangements I learn about the relationship of my eye, ear and mind. My eye is the observer who goes out to the field and my mind is the planner who directs the discoveries of my eye. My ear is the receiver who takes in, and acts as a filter and stimuli all at once. Through observation we are brought to an awareness of ourselves as a filter and how our senses connect and disconnect ourselves to the world. As Laurel Lee said, ‘when I look at things I don’t see how they are, I see how I am’ {Radin, 1997, 89}. Goethe commented, ‘every new object, clearly seen, opens up a new organ of perception in us’ {Naydler, 2000, 116}.

A contemporary physicist, John Wheeler, talks about the importance of participation and not just observation,’…in this way we have come to realize that the universe is a participatory universe’ {Peat, 1987, 4}.

What ever way we participate with the universe, each one of us, in our little way is making a change. This brings me to think of my position as an artist – how do I want to participate¨?

This very question brings me to ponder my own presence in the moments that I work with, and how I might be influencing what is existing around me.  I am not in isolation, but rather in relation with the surrounding environment - this becomes a dialogue between time, place, sensing and being.  I wish to communicate this internal dialogue through art, inviting the viewer’s minds to tune in to this way of sensing the world.

As the boundaries of contemporary art have become blurred and integrated, combining multidisciplinary means, we can start to realise the refreshing organic possibilities that can excavate the properties of interpreting the world around us. I like to see myself perhaps as a communicator, an indicator. I am approaching nature on my own terms and sharing the realisations of what has been found with viewers. As F David Peat comments, ‘Philosophy, psychology, science, art, and religion all spring from a deep human response to the universe and cannot be pursued in isolation but must always be carried out from within a much wider context’ {Peat, 1987, 240}.

My creative process – like building a bird nest

Next I want to look deeper in to the process of creating, what is happening and how it is happening. I feel that the natural world, in its widest sense, offers a platform for reflection to connect with and make sense of the world.  Bill Viola talks of the importance of this in the following quote: ‘The basic models of human beings come from nature, because we are a part of nature. And if we look at the essence of what the natural world is about, we see that it is about change and process’ {Viola, 1995, 271}.He then talks about similarities in the process of sedimentation between humans and earth, in which the layers of human experience become like sedimentary layers in the earth. These different layers in human sedimentation are seen as consciousness and reason, unconsciousness and intuition.

The gathering process is an essential part of my work. It serves to collate incidental materials to suggest and imply a greater aesthetic process. Each fragment - audio, visual, or material, is a momentary one: only a slice of time, a piece of the whole. 

Reflecting on nature as a metaphor, I have gained some clarity through connecting a form of subjective creativity with its organic potential. My personal creative process is manifest in the act of a bird building its nest. Each fragment is noticed, selected and placed in the nest to function with others. These fragments I see as thoughts and ideas which are steps along the journey and in them selves not significant - but in operation together they start to serve a further purpose. It is the little things that matter and shape what the outcome will be. The nest-building process carries a notion of faith and trust, in-built strength, even when we can not see where we are heading at times. I like to think of birds as seeing the nest in each stick and tiny fragment; that in the process of building they have this in-built drive to find and build. Similarly, within the creative act we are dealing with processes of building, finding fragments and placing them in to the whole for something greater to be born. In the making process of the film La Nina Santa, director Lucrecia Martel explains the difficulty in seeing the film as a whole during the initial film making. She feels that it is an act of faith and states that ‘You have to believe in that vague memory of the film as a whole’ {Martel, 2004}.

My approach involves contemplation of birth and death - something seen as arriving and departing creates sense of destination, coming and going, no final stop but flux and change.  I believe that this transformative process reflects nature, which itself is transformation. Therefore, this contemplation is solely about union rather than separation and is evident in my installation of the Heart-beat nests and the Moth collection.

Multimedia artist Saara Ekström works with similar ideas of growth and growing and creates visual dialogue that is perceived by a meditation of liveness and familiarly finiteness. Her work reflects the intertwining processes of life and death. She communicates this cyclical time by using materials that are recognised in the every-day, such as moulding fruits and milk bags.

I feel that the following poem from Andrei Tarkovsky’s film Stalker powerfully summarises thoughts and qualities on life and death;

‘May everything come true. May they believe.

And may they laugh at their own passions

…for what they call passion is not really the energy of the Soul

but merely fiction between the Soul and outside world

but above all, May they believe in themselves

and become helpless as children

for softness is great and strength is worthless

When man is born he is soft and pliable

When he dies he is strong and hard

When a tree grows it is soft and pliable

but when it is dry and hard, it dies

hardness and strength is death’s companions

Flexibility and softness are the embodiment of life

That which has become hard

Shall not triumph.’

                                                                                           {Tarkovsky, 1979}

 I have found clarification and support in the understanding of my creative process from principles of Japanese aesthetics such as ‘naru’. This means ‘becoming’, but a becoming dependent on time, in which all events of life flow progressively from one to another, or more specifically, in which each event is created from the previous one in an unbroken time span. In his essay Aesthetics in Japanese Arts, Bruno Deschênes writes, ‘The notion of becoming in Japanese philosophy is a creative process controlled by a vital energy called ‘musubi’, meaning the spirit of fecundity, which propels the events of life from one state to another through time’ {Deschênes, 2003}

 I feel that all the natural elements of my installation form a poetical structure, reflecting the idea of a fruit of creativity through which life and energy carries on beyond itself.  

For me it is essential to think of the way in which all objects are inter-related - sounds, materials, images and text, are all elements that point to unfolding associations. For me the creative process has been about learning through not knowing, slowly letting ideas and impulses grow, so they may start to form their sense through a fragmentary structure. This I see as a complementary intuitive process of accepting the impermanent nature of materials and subjects.

P A R T     2. 

Sound as thing falling and flying through the air

“Our soul must be airy, for it knows music, and takes pleasure in it.” {Novalis, 1990, 421}

 As I have discussed the relevance of understanding my creative process I now feel it necessary to address my chosen medium. Sound arrived in my art practice through wanting to work in a more discreet and intimate way, combining visual and more ephemeral processes. My investigation and practice emphasises the ideas and processes of the mind combined with actual experiences rather than constructed materialist artefacts. During this year my desire was to create a way of working in which I could use reality, in the way that I sense it, directly in my work. This meant bringing my life and its experiences closer to my artistic practice, so that my life and art can work together, hand in hand, both feeding in to each other. My practice invites found sound and found events. If sound is approached as a whisper and if you think of how something is whispered in to your ear, it carries its message far deeper than shouting ever would carry it - this approach starts to unravel the strength of the subtle qualities that I have been looking for. I associate sound with the air and mind. Sound moves in the air, and yet it enters into our being through sensory experience. Sound has a power to move emotions, as wind has the power to move leaves. The ear takes sound in and it travels to influence our mind and being, stimulating us in many different ways.

The tools we use in art making direct our interests and what we can find - it can open and limit the discoveries at the same time. Sound can act as a bridge; for example, sound used in films often allows the viewer / listener to anticipate or even prejudge what is going to happen next. Lucresia Martel used sound differently in the film La Nina Santa. The entire film did not have a sound track, which consequently strengthened the ideas of the story in the film through unpredictability. Ideas of people or situations being good or bad turned out to be impossible to distinguish. The sound fabric of the film was created by amplifying the natural sounds from the physical action in the film, such as the sound of the girl touching the wall with her fingers. The viewer / listener isn’t aware of this amplification but is left with a strong sensory experience. Martel talks about the importance of editing as a tool, ‘What disappears in narration- what isn’t said, what you’d rather hide, what you don’t wish to share with the audience for some reason, what is left out can be as important as what is shown, if not more’ {Martel, 2004}. Sound creates an inner space where one’s own line of experiences starts to melt with what is present in the sensory experience / moment. Sound has a power to stimulate multiple sensations far beyond what has been heard. It also has similar qualities to scent and colour, as sound artist Brian Eno puts it, ‘...sound is very much like a colour or scent, in which its power to tap directly into our emotional states, can be used to create a certain type of atmosphere to a place ’{Eno, 1978}.

S o u n d   i s   t h e    i n v i s i b l e    w h i c h     i s    a r o u n d      u s.

                          F l o w e r    i s    t h e     i m a g e,   

                   f r e q u e n c y    i s     t h e    s o u n  d  .

Working with sound has been like a walking journey of noticing and collecting. The value of experience has become central to my interests. The walking journey with sound holds the essence of fleetingness in time and place.  I have come to realize that we can never capture the moment, but rather the moment captures us. I can only record slices of the continuum of moments. I believe that the method of analysing and understanding these sensations is evident in the following quote based on the Buddhist way of thinking; ‘In the level of relative truth every moment of consciousness is born in touch with the object, which is drawing our observation to it. It could be argued, that every subject has its object in the every moment of consciousness. Even observation and thinking seems as a continuous operation, they are born and fading singularly moment by moment. But fundamentally consciousness doesn’t exist as a single moment - as an independent and separated entity. It is only a flow, which is continually formed by disappearing moments. The only thing that doesn’t change is interdependent of time, non dualistic consciousness that moves beyond random thoughts’{ Revel and Matthieu,2000, 96}.

Synchronicity

Next I would like to discuss the use of synchronicity as a mechanism in my art making process. Moments of synchronicity manifest them selves in a space between where the world in the mind and the world of matter starts to compose poetry of possibilities. This middle ground is the area of realisations where an inner world finds meaning in the outer world and outer enters the inner - after all, there is no either or, it becomes one place, which is simultaneously in the mind and in the surroundings. Personal experiences and dreams that relate to synchronicity have become an inspiration and stimulation driving my creative process.  I am looking for connections between things that are often hidden – a path which is revealed through intuitive action.

Carl Gustav Jung defined synchronicity in the following terms, ‘Synchronicity means the simultaneous occurrence of certain psychic state with one or more external events which appear as meaningful parallels to the momentary subjective state – and in certain case visa versa’{Jung, 1985, 36}.  This kind of process and stimuli sets an unpredictable and interesting journey in creative process, a dialogue between psyche and matter. The German philosopher Novalis writes, ‘The seat of the soul is there, where the inner and the outer world touch’ {Novalis, 1990, 13}.

Through moments of synchronicity we might gain an understanding of the world which, though subjective and in a sense non-transferable, might be applied in other areas, such as sound and visual art.

F David Peat writes, ‘Scientific theories can never come to life of themselves, they must always remain what they are - theories, objective accounts of the world that must be set beside the immediacy of our personal experience and those rare flashes of insight that suggest a deeper reality lying beyond the structure of appearances’ {Peat, 1987, 1}. He concludes that, ‘Synchronicities give us a glimpse beyond our conventional notions of time and causality into the immense patterns of nature, the underlying dance which connects all things and the mirror which is suspended between inner and outer universes’ {Peat, 1987, 2}.

The Moth Project

In order to conclude all these thoughts I will draw upon The Moth Project which is also present in my final exhibition. My project of tracing moths developed from a dream in which I was sitting on spiral stairs and someone said to me, ‘You are a kiss of a butterfly’. I had the dream at a time when I was deeply questioning the essence of my artistic practice.  I felt that the dream was a pictorial answer, like a metaphor, revealing deeper and broader meaning which I was unable to see at the time. Soon after the dream, a beautiful small moth, which looked like a butterfly, came in to my room. It was green with white borders on its wings and the centre of its body was red. It flew up and down, spiralling around my room. The following evening, three more similar moths came and this started a flow of moths entering my room.  I began observing the moths and recording them through visuals and sound. This close observation of moths visiting my external inner space (my room) brought realisation about the nature of my artistic approach. Reflecting on the moth, I could trace many similarities between my way of working and their way of being.

British artist Neeta Madahar’s Sustenance project has great relevance to The Moth Project. Sustenance is a series of 15 photograph frames of such causal sightings as birds in a backyard. The creation of her work involves months of observation and capturing defined moments. Carlo McCormick has written of her work, ‘What she captures is more than a mere pose within the fleeting:  it is a rich, contemplative stillness; a chance for both artist and the viewer to look, with mesmerised clarity of detail, at the avian community whose constant cohabitation with humans has rendered their presence ostensibly incidental’ {Madahar ,2005, 33}.

In this project I also observe living creatures, although in this instance, moths. But unlike Madahar’s piece, my work took place over a short period of time echoing the short life–span of the moth, an average of two weeks. Images of the moths act as a thought play about capturing. They have entered my room and the meeting point with the moth is recorded and captured. Yet after the moment passes they are still flying free, un-captured.

Neeta Madahar works at the cross section in which we can observe and experience the wild within the domestic.  Madahar says, that ‘birds are so similar to us in the way they feed and socialize, in their patterns of behaviour that they became perfect symbols… as natural extension of ourselves’ {Madahar, 2005, 35}. Rather than seeing a relationship between the life of birds and that of humans, I prefer to see the moth as metaphor of fragility and mortality, a reminder that we are here only for the time being. I have a longer life span and therefore I am witnessing their life cycle, coming and going. The Moth Project has in many ways enhanced my sympathy for all living beings. Zooming in, seeing the face of the moth through a magnifying glass is at once peculiar and touching. It literally brings me to face the fact that everybody, each living form has their own journey and purpose.

Capturing is often the essence of photographs, as they capture fleeting moments in time and act as a memory capsule for what once was. The nature of taking photographs could be seen as a connection to the place or a moment, but it is also our separation from them. Carlo McCormick has commented, ‘When ever the fluidity of nature is broken, when it is stilled by some aesthetic intervention, the result has the quality of a ‘momento mori’{Madahar, 2005, 35}. When something is captured, in any form of recording, the moment is isolated from its natural flow and in this way it dies from its origin. Yet new meaning has the possibility to arise from this separation.   

Sound artist Janet Cardiff comments, ‘that is one of our goals in life, to get connected…When I started working with audio, I really liked the way it included the whole body. It really created this physical connection’{Gardif, 2005, 189}. I feel a similar way about the sound, it truly adds another dimension to the experience. Alongside visual recordings I also traced moths through sound. I set up a microphone in my rice-paper lampshade where moths flew in from time to time. At once, I was in the micro environment of the lamp shade, experiencing it through sound. Each nocturnal creature had its individual activity happening. I was lying on the floor watching their shadows moving inside and through listening, I felt as if I was in this micro environment with them. This created a fascinating and shuddering sensation.

 Finally, I feel that this project has embraced the quality of flight itself. It was driven intuitively and instinctively by following unfolding events. Everything fell into place at the right time supported by synchronicity. 

This crystallised my entire perception of the possible ways of transforming my intimate and personal experiences into my art work.

Moths landed on to the light box and became shadow beings. The light box became a memory platform for the meetings in the past. Needle, of this moment, is piercing through the memory shadow body – yet flutter of time can never be captured. 

B i b l i o g r a p h y

Aarent, Hannah {2005} Arjen Murtumia, Exhibition catalogue, Helsinki, Modern Art Museum Kiasma

Buchanan - Smith, Peter {2001} Speck: A Curious Collection of Uncommon Things, New York, Princeton Architectural Press

Cage, John {1997} Composed in America, The University Chicago Press

Cardif, Janet {2005} The Walk Book, Köln, Thyssen – Bornemisza Art Museum

Deschênes, Bruno {2003} http://www.thingsasian.com/goto_article/article.2121.html  {30.06.06}

Ekström, Saara {2005} Grotesque & Arabesque, Exhibition catalogue, Helsinki, Amos Anderson Art Museum

Eno, Brian {1978} Ambient 1: Music for airports, Edition eg records

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Martel,  Lusrecia {2004}  La Nina santa,R & C Production, Argentina, DVD Artificial eye 

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 A d d i t i o n a l    r e a d i n g s

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Toop, David {1995.} Ocean of sound: aether talk, ambient sound and imaginary worlds, London, Serpent’s Tail

Walvin, Jenny and Krokatsis, Henry {2006} You’ll Never Know: Drawing and Random Interference, London, Hayward Gallery Touring