It is ironic how the ancients brought about the modern in art.

The Theosophical society has made large contributions towards the Arts since its conception. Its major contribution was during the advent of Abstraction during the turn of the last century from about 1890 to 1920, and this had followed on into the 1950’s and still is strong among some artist today. At about the 1910 Kandinsky, a Theosophist at that time, had been recognized as the artist who had made the first fully abstract painting

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First abstract painting 1910 Kandinsky (Theosophist)

Also during this time Mondrian, also a Theosophist had made major contributions to the progression of abstract art.

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Mondrian minimalist painting

‘Kandinsky’s manifesto, Concerning the Spiritual in Art, is heavily indebted to H. P. Blavatsky and Theosophy, and his early efforts to free himself from the representational mode of painting were deeply influenced by the book ‘Thought Forms’ by Annie Besant and Charles W. Leadbeater. Piet Mondrian was a long-time member of the Theosophical Society, and the whole body of his work is an effort to express certain fundamental theosophical concepts relating to the polarity of spirit and matter and the threefold nature of the ultimate world-stuff.’ Prof. John Algeo http://www.au.org.au/tsia-article-theosophy-and-the-zeitgeist.html

You could say that the Theosophical society is fulfilling its primary objective and that is establishing the ‘Universal Brotherhood without distinction based on the realization that life, and all its diverse forms, human and non-human, is indivisibly One” through the arts. It is doing this by freeing the mind from representational-culture based thinking to more universal perceptive and intuitive mode of ‘reasoning’. The mind takes on a ‘meditative way’ of looking at abstract form and this continues into daily living.
This year, 2010, Charles Saatchi, a collector of art and a deciding force in the art world in UK and the world, had an exhibition of young artist, and one of the sculptures was titled Madame Blavatsky. The sculpture was made in 2007, but widely shown in 2010 and that is today, right now. Theosophy still shows itself to the world through the arts, though a levitating figure is not what Madam Blavatsky is all about. But still she is here today partly because of the Arts. It is ironic how the ancients brought about the modern in art.

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Goshka Macuga Madame Blavatsky
2007
Carved wood, fibreglass, clothes, chairs 114.3 x 190.5 x 73.6 cm

So, are the driving forces and the message of Theosophy to the world today and in the near future to be through the arts and crafts, and music and literature etc? If you think about its transformative powers, in having contributed to an important event in the turn of the last century, the arts took the bold step and found its way from realism into abstraction through Kandinsky and Mondrian who were both Theosophists. Perception crossed the line from the external to the inner self. Some of us might not think it but we are never the same again for it. When the concept permeated our living space realism in our minds would have crossed the line from the external into the inner self and forced us to look at things in a different way. Perception, intuition, chance, spontaneity and insight would have become more important in reading the inner self. The seeking of the intangible Truth of things more important than seeking the object. Of knowing once place in the universe more important than ones place at home. From the outer to the inner. A new world to ponder. Abstract art is here today and just over a hundred years ago it was not. All because of a few who decided to cross the line and chance a form in the, “the true spirit of Art”, without considering the consequences to their careers. Kandinsky was known to carry the book ‘Thought forms’ by Annie Besant and C.W. Leadbeater. Theosophical society? ART, advent of abstraction. But what has the Theosophical society got to do with the arts?!!: Art history today, I am afraid.

The Theosophical Society should be proud of creating a new direction in the Arts. The flame burns quietly as to its contributions as seen in its beautiful surroundings and buildings at Adyar, the headquarters of the Theosophical society. The society has its own museum and archives located on the ground floor of the Headquarters building. The collection of artifacts and the art works that were presented to the society, the grounds and its beautiful architecture could be considered the permanent retrospective of Madam Blavatsky as ‘artist’ who lived it and created it as it is today. She has left behind not just a collection of ideas and paintings, but rather as artist she had left behind a society that has transformed and moved forward because of her. Charles Saatchi, art collector and promoter of possibilities of the ‘new’ in art, celebrates her presence in 2010, almost 120 years after she has passed on, as a reminder to the world of her contributions to society as an artist extraordinaire. During that creative period of change in the direction of the arts between 1890 and 1920 you will find coincidently paintings and sculptures that were donated to the Theosophical Society by artists of the time, as if celebrating the new in the arts, like ‘The messenger’ by Nicholas Roerich in 1925. Madam Blavatsky as messenger perhaps, recognizing her contribution, to the new form and to the new order in the world at that time.

The Theosophical grounds with its buildings, museum and archive rooms is a wonderful repository to remind oneself of its place in the world today in all things, including the arts.

During the convention, sandwiched between the school of wisdom classes from November to early February, the place comes alive with its members from around the world to witness the beauty of the societies grounds and in it they see its place in the world regarding its contributions to the changing form in the arts, and hence in the minds of not only their members, but to the population in general. Its access to the young masters of the future is present locally through their schools, but to the wider population of the world it must be through a medium that is more accessible to them. Wisdom classes is fine for the older generation of seekers of the Truth but for the young the answer is through the arts and crafts, plug and play, pots of paints and brushes etc. And then through skilled based adventures as they develop their creative minds and apply them to their sciences: creativity becomes the way to learning. The mind takes on a broader more intuitive way of studying. Theosophy silently playing its part in creating the future and doing it silently in the minds of the young through the arts. The Society’s power to transform through the arts had established itself with the advent of abstraction.

So what’s ‘new’ and what’s next for the contribution to the arts by the teachings of the Theosophical Society? The ‘Society’ – as it is mystically known to the residents of the town of Adyar in India – is a place of freedom to explore the possibilities in the Arts and the Self to look for the ‘new’. So when visitors come to the society and sit and draw or paint: they celebrate the place of the society in the creative world. The Society will move forwards and towards a single society through the Arts.

In the words of J. Krishnamurti:“you may be a potential writer, or a poet, or a painter. Whatever it is, if you really love to do it, you are not ambitious, because in love there is no ambition.” (Life Ahead chapter 7) You do it because Art indicates a level of reality that is higher than being merely material. Kandinsky wanted his paintings to Transfix people, for his compositions to be meditative in nature and to be able to transform. Abstract art and how it is done can do that. The process itself for the artist is transforming in nature and he tries to pass that on to his viewer through its mark making, through spontaneity and chance, by chasing the mistake and finding form: hoping its manifestations has an element of the Truth in it, and of the laws which govern the universe: you can literally feel this when the painting finally falls into place. Only by doing you will know. But creativity should not end in the artist’s studio. Outside it, your life should be like your work. You live it as you do it and Madam Blavatsky lived her art. She was a complete individual who saw further than most, sensed both the material reality and the unseen world. She was this that and the other, all of all, who in creating the Theosophical Society, created her perfect ever functioning permanent artistic installation which is part of the fabric of society today. And the ‘Exhibition’ that is held every year end, that they call the ‘Convention’ is a performance piece, celebrating her with, talks, music(this year, one to watch, Nirali Kartik, up and coming contemporary Indian classical singer) and dance, depicting the future world in miniature and credit given to all the ‘actors’ of Adyar, including those who come from across the world to play their part in making it happen.

The existence of a reality that transcended the material world was precisely the selling point of Madame Blavatsky’s ‘secret doctrine’: ‘In the 21st century this earth will seem a paradise compared to what it is now,’ she wrote. Literature, music and art are the first and most sensitive spheres in which the spiritual revelation will be felt.’ She should know: as she was an artist extraordinaire, not only in the visual arts, but an artist of all life: both the tangible and intangible worlds.

Siri

Related Images:

Kalakshetra

This is from their website:
‘Kalakshetra literally means a holy place of arts (Kala : Arts, Kshetra : Field
or Holy place). Deriving inspiration from this noble ideal, Kalakshetra was established, in the words of Rukmini Devi,
“with the sole purpose of resuscitating in modern India recognition of the priceless artistic traditions of our country and of imparting to the young the true spirit of Art, devoid of vulgarity and commercialism.” The training of young and talented people by masters of art, with the background of a religious spirit, has been its main aim.’

This all ties up with that exciting period between 1890 and 1910 when the arts took the bold step and found its way from realism into abstraction through Kandinsky and Mondrian who were both Theosophists. Perception crossed the line from the external to the inner self. Some of us might not think it but we are never the same again for it. When the concept permeated our living space realism in our minds would have crossed the line from the external into the inner self and forced us to look at things in a different way. Perception, intuition, chance, spontaneity and insight would have become more important in reading the inner self. The seeking of the intangible Truth of things more important than seeking the object. Of knowing once place in the universe more important than ones place at home. From the outer to the inner. A new world to ponder. Abstract art is here today and just over a hundred years ago it was not. All because of a few who decided to cross the line and chance a form in the, “the true spirit of Art”, without considering the consequences to their careers. The Kalakshetra was set up in that spirit by Rukmini Devi (February 29, 1904 – February 24, 1986) at the time the wife of Dr. George Sidney Arundale (1 December 1878 in Surrey, England — 12 August 1945 in Adyar, India). Dr. Arundale was at the time the president of the Theosophical society. Theosophical society? ART, advent of abstraction, Kalakshetra, ‘the true spirit of the arts’. But what has the Theosophical society got to do with the arts?!!: Art history today.

Related Images:

Saatchi, Kandinsky, Mondrian and me.

The Theosophical society has made large contributions towards the Arts since its conception. Its major contribution was during the advent of Abstraction during the turn of the last century from about 1890 to 1920, and this had followed on into the 1950’s and still is strong among some artist today. At about the 1910 Kandinsky, a Theosophist at that time, had been recognized as the artist who had made the first fully abstract painting

‘Russian born artist, Wassily Kandinsky, painted what he blithely named First Abstract Watercolour in Munich, Germany, in 1910. ………..’

‘In the East, artists such as Kasimir Malevich took off toward stark black on white geometric symbols to fuel his Suprematist movement while Piet Mondrian was gradually “wading into” abstraction of his own design with his ongoing study of trees, which ultimately ended in total abstraction but with a distinct set of “footprints” leading back to subjective painting. ………….but it was a ceremonial throwing down of the gauntlet declaring that this was the direction art would go in the twentieth century!’
Contributed by Lane, Jim
18 December 1998

Kandinsky_First_Abstraction,_1910
First abstract painting 1910 Kandinsky (Theosophist)

Also during this time Mondrian, also a Theosophist had made major contribution to the progression of abstract art, and later even Jackson Pollock (1950) had made reference to Theosophical influences.

mondrian
Mondrian minimalist painting

Pollock_at_work
Jackson Pollock at work
John Algeo’s article for summary of artist influenced by Theosophy. For full article see siriperera.com: ‘Influences on ‘Art of the Invisible’ also invisible in contemporary Art History’
Artists who were influenced by theosophical and allied ideas include Jean Arp, Giacomo Balla, Joseph Beuys, Emil Bisttram, Serge Charchoune, Jean Delville, Theo van Doesburg, Arthur Dove, Marcel Duchamp, Paul Gauguin, Lawren Harris, Marsden Hartley, Jacoba van Heemskerck, Johannes Itten, Paul Klee, Yves Klein, Hilma af Klint, Franz Kupka, Kazimir Malevich, Brice Marden, Mikhail Matiushin, Georg Muche, Georgia O’Keeffe, Gordon Onslow-Ford, Jackson Pollock, Richard Pousette-Dart, Paul Ranson, Odilon Redon, Paul Serusier, and Jan Toorop.
Most significant perhaps are two giants of modern art, Wassily Kandinsky and Piet Mondrian. Kandinsky’s manifesto, Concerning the Spiritual in Art, is heavily indepted to H. P. Blavatsky and Theosophy, and his early efforts to free himself from the representational mode of painting were deeply influenced by the book Thought Forms by Annie Besant and Charles W. Leadbeater. Piet Mondrian was a long-time member of the Theosophical Society, and the whole body of his work is an effort to express certain fundamental theosophical concepts relating to the polarity of spirit and matter and the threefold nature of the ultimate world-stuff’

Also note the book, ‘Concering the spiritual in art’ by Kandinsky, ‘is heavily indepted to H. P. Blavatsky and Theosophy, and his early efforts to free himself from the representational mode of painting were deeply influenced by the book Thought Forms by Annie Besant and Charles W. Leadbeater.’
And this ain’t just bingo, as the Theosophical society, has made some major contributions to the way art has progressed especially in the last century. In a way it has done its duty to show the intangible to the masses through the arts, through its ‘masters’ of the modern art world. It is ironic how the ancients brought about the modern in art. You could almost say that the Theosophical society is ‘doing its thing’ for the universality of humankind to come into being and is it possible that its function to achieve this is really through the arts, as it has already revealed.

So the proposal for the art center at Adyar, India, the headquarters of the Theosophical Society, is to play up the art history of the contributions to the arts by the society, and enhance its image to the world and especially to the young, that the ancient wisdom can be ‘cool’.
This year Charles Saatchi, a collector of art and a deciding force in the art world in UK and the world had an exhibition of young artist, and one of the sculptures was titled Madame Blavatsky…. The sculpture was made in 2007, but widely showed in 2010 and that is today, right now, Theosophy still shows itself to the world through the arts.

OLYMPUS DIGITAL CAMERA
Goshka Macuga Madame Blavatsky
2007
Carved wood, fibreglass, clothes, chairs
114.3 x 190.5 x 73.6 cm

So is the driving force of the message of Theosophy to the world today and in the near future to be through the arts and crafts, and music and literature etc. ( see John Algeo’s article on the contribution to the arts by Theosophy. http://www.austheos.org.au/tsia-article-theosophy-and-the-zeitgeist.html’

So the proposal for the art center, having observed the Adyar site is best for the ‘meditation hall’ to be the gallery for the works. To meditate on art and to meditate on life is the function of the meditation center. The ‘walkers’ through the society in the evenings and mornings pass this hall, will also make this an ideal place for paintings to be hanging. There are other events that can occur around this building. I gather it was at one time been a place to sit around tables placed in the grounds with sips of tea and discussions of the perfect state and if one was enlightened already or not. Also books could be sold here for those who stop by. Art could also be sold like the books with contributions divided between the society and the artist. So Theosophy is proud to continue to contribute to the arts today and to make the Society ‘cool’ to the young and up and coming, with texts about its contributions in the exhibition hall. For those who walk the grounds of the Theosophical Society today, who are not members, perhaps the cream of Chennai society, might be tempted to put down their cell phones for a few minutes, and look at some art, read some texts about the arts and the society, buy some books and perhaps some art. And who knows what might come of that in the future. If one of the tools of the message of the society in through the arts then it should be present everyday for all to see, of its place in the world for its contribution to the arts.

Also one other thing:
If the society could open some of its building/s on site for the arrangement of painting studios for both local and foreign artists to paint and then exhibit their works at the ‘Gallery’ meditation hall. Foreign artists I mentioned as artist could be sponsored by their respective governments to practice their art and contribute to local artists working together. This can happen for the November to February period during the School of Wisdom period when the days are cooler. The foreign artist will have the option to attend the school of wisdom classes. In the UK I know this can happen with grants from the Arts Council which could come as a donation to the society. And remember, to the art establishment of the world, the Art councils, the theosophical society is at its center to its development and has already shown its power to show what’s ‘new’ through its teachings, by the advent of abstraction during the last century. So what’s ‘new’ and what’s next for the contribution to the arts by the teachings of the Theosophical society? The KFI School when acquired by the society for its own use in 2014 could be a starting for a school of the arts in Adyar: painting, sculpture, music, dance etc. It will be a place of freedom to explore the possibilities in the Arts to look for the ‘new’. It could be a place where artists from around the world could come and teach and contribute. And The Society will move forwards and towards a single society through the Arts.

The existence of a reality that transcended the material world was precisely the selling point of Madame Blavatsky’s ‘secret doctrine’: ‘In the 21st century this earth will seem a paradise compared to what it is now,’ she wrote. ‘Literature, music and art are the first and most sensitive spheres in which the spiritual revelation will be felt.’ She should know: as she was an artist extraordinaire, not only in the visual arts, but an artist of all life: both the tangible and intangible worlds. (siri)

Theosophical Society Headquaters Adyar, India (with Pics):                  https://siriperera.com/?p=204

Related Images:

Consciousness Of The Universe

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Consciousness of the universe

Rupert Sheldrake is the Director of the Perrott-Warrick Project.
The Perrott-Warrick Project for research on unexplained human abilities is supported by the Perrott-Warrick Fund, administered by Trinity College, Cambridge.

Maybe Angels

A Confluence of Imagination and Rational Inquiry

An interview with Rupert Sheldrake
by Hal Blacker

I met controversial biologist Rupert Sheldrake the night he and theologian Matthew Fox celebrated the publication of their new collection of dialogues, The Physics of Angels. I knew that Sheldrake was not afraid to challenge orthodoxy by entering realms of thought usually eschewed by other scientists. A former Research Fellow of the Royal Society and Director of Studies in biochemistry and cell biology at Clare College, Cambridge University, England, his most unorthodox work is not easily dismissed, even by his more traditional peers. His first major book, the controversial A New Science of Life, published in 1981, was called “the best candidate for burning there has been in years” by the prominent scientific journal Nature, but was simultaneously praised by the equally well respected New Scientist as “an important scientific inquiry into the nature of biological and physical reality.” His work ever since has been notable for its revolutionary attempt to bring an awareness of the intelligent and living quality of what we often view as brute nature, for trying to heal the Cartesian split between the physical and the mental, and for adventurously crossing the well-guarded boundary between the worlds of science and spirituality. Still, I wondered how far a scientist could go before he had truly left science’s legitimate domain. Angels? Surely this must be a whimsical metaphor for something more rational, more in line with modernity, more, well, material.

Speaking with Sheldrake showed me I was wrong, in part. His belief in the possibility of the existence of angels, or of intelligences operating in the universe that are greater than our own, is not metaphorical. Nor is it tinged with the wishful fantasy which pervades so much of new age spirituality. Instead, it is the latest exploration of a visionary thinker who is unafraid to take the immense risks that go with entering the territory of the unknown.

In our conversation, Rupert Sheldrake revealed himself to be not only an innovative scientist but a man of impressive erudition in many other fields of learning, and also one whose scientific and philosophical investigation is fueled by a passionate concern for all of life. While some of his theories may seem more fanciful than factual, blurring the line between science and science fiction, speaking with him was a mind-expanding journey that had me, a few nights later, staring into a starry sky and wondering, despite myself, if there was someone or something out there staring back. More significant to our investigation of the relationship between scientific exploration and enlightenment, Rupert Sheldrake showed a quality that is rare in men of his intelligence and breadth of knowledge—a pervasive humility and respect for what is not known, and for that which it may never be possible for the intellect to grasp.

interview

WIE: The first question I want to ask you is, why angels? It seems like an unusual thing for a scientist to be talking about.

Rupert Sheldrake: I’m interested in the recovery of the sense of the life of nature. The thrust of all my work is to try to break out of the mechanistic view of nature as inanimate, dead and machinelike, which forces the whole of our understanding of nature into a machine metaphor. This is a very man-centered metaphor. Only people make machines. So looking at nature in this way projects one aspect of human activity onto the whole of nature. It’s an extremely limiting view of nature, and an alienating one.

Right from the beginning, since my book A New Science of Life was published, my aim has been to try to find a wider picture or paradigm for science that is not constricted to an inanimate, mechanistic view of things. In a way, the bigger picture is the idea of the whole universe as a living organism.

The big bang theory gives a picture of the origin of the universe in a small, undifferentiated, primal unity. The universe then expands and grows, and new forms and structures appear within it. This is more like a developing organism than like a machine. So implicitly we’ve got a new model of the universe as a developing organism.

Physics, also, has broken out of the old mechanistic universe. The old idea of determinism has given way to indeterminism and chaos theory. The old idea of the earth as dead has given way to Gaia, the idea of the living earth. The old idea of the universe as purposeless has been replaced by a new physics based on the notion of attractors, of things being drawn towards ends or goals. And the old idea of the universe as uncreative has given way to the idea of creative evolution, first in the realm of living things, through Darwin, and now we see that the whole cosmos is in creative evolution. So, if the whole universe is alive, if the universe is like a great organism, then everything within it is best understood as organisms rather than machines.

Then the next question that arises is: Well, if the universe is alive, if solar systems are alive, if galaxies are alive, if planets are alive, are they conscious? Or are they alive but unconscious, in the same way that perhaps a worm or a bacterium might be alive but unconscious? And, is the kind of life that may exist in the cosmos more conscious than ourselves or do we have to assume it’s a great deal less conscious than ourselves? Are we the smartest beings in the universe? Now the usual answer of science is yes. I think that’s a very improbable assumption. So, if we come to the idea of many forms of consciousness, if the galaxy has a life and a consciousness, then it would be a consciousness far greater than our own—greater in extent, greater in its implications and power, and in the spread of its activities. This, from the point of view of science, is a ridiculous idea, because science has wiped out consciousness from everything in the universe except human brains.

But there is in the Christian tradition, in the Jewish tradition and in all traditions, the idea of many beings with greater levels of consciousness than our own. In the Western traditions they are called angels. So, in my book with Matthew Fox, The Physics of Angels, our aim was to explore what the Western tradition actually has to say to us about angels, and see what relevance that might have in the context of new cosmology.

My interest is in a new view of science, where we see the universe as alive, and in an exploration of what it could mean to see that there are forms of consciousness above the human consciousness. If one thinks of a divine consciousness embracing all things, and then this human consciousness here, the traditional view is that there are many, many other levels and kinds of consciousness in between. It’s not that you leap straight from divine consciousness to human consciousness, with nothing but brute matter in between.

WIE: When you are speaking about consciousness, do you mean self-awareness?

RS: I think that self-awareness comes about through mutual awareness. I don’t think self-awareness arises within a kind of solipsistic world of navel gazing. “Consciousness” means, literally, con scire, to know with, or to know together. I think that the reason that we are conscious is because we are interconscious in relationship to other people. Consciousness is shared, and I don’t think an individual human being, without language and without relationship with other people or any other thing, would be conscious. I think that consciousness has to be understood in relationship, not as a kind of isolated thing. And, since I’m Christian, the model of consciousness that I like particularly in the Christian tradition is the notion of the Holy Trinity. Divine consciousness is not just an undifferentiated unity in the Christian tradition. It’s one of relationship and it always has relationship within it.

I think that if a galaxy is conscious, then its consciousness would depend on its relationship to the stars and solar systems within it, and also, probably, its relationship with other galaxies. There’d be a kind of intersubjectivity of galaxies, a communion or community of galaxies.

WIE: Last night, when you and Matthew Fox were celebrating the publication of The Physics of Angels, you spoke about the possibility of the sun being conscious. You said that the sun is a complex system with a great deal of electromagnetic activity, and so is the brain. So, like the brain, the sun might be conscious. When you talk about galaxies or the sun being conscious, how literally do you mean this?

RS: Well I do mean it literally but it’s difficult to know about any form of consciousness other than one’s own, and even that is a mystery. I don’t know what your consciousness is like, let alone the consciousness of a dog or a cat or a bird. Even with organisms we know are alive and probably aware, it’s hard to penetrate the inner life of their consciousness. But since you speak English, I would imagine quite a lot of it depends on the English language, as my own does. The sun presumably doesn’t speak English and doesn’t have language of the human kind at all. And it’s very hard for us to imagine what any consciousness is like that isn’t formulated on human language. A dog’s consciousness or a dolphin’s consciousness is obviously not formulated in terms of human language and it’s a great exercise of the imagination to try to imagine what their consciousness is like. So I think the consciousness of the sun is so beyond anything that we are normally aware of ourselves, it’s extremely difficult to form an image of what it might be.

I think one could say that the scale of interest of the sun would presumably be, first and foremost, the solar system. I think we’d have to think of the consciousness of the sun as not embedded just within the sun but as something that would be centered in the sun but extends through the solar system, just as our own consciousness is not confined to the inside of our heads but spreads out to our entire perceptual world around us and links us to everything we relate to. So I would imagine the solar consciousness embraces the whole solar system and also its relationship to the other stars and the whole galaxy, because the sun is not an isolated unit, nor is the solar system. It’s part of a larger organism, it’s like a cell within the body of the galaxy.

WIE: Professor Huston Smith, who has written a great deal about science and religion, is skeptical about the usefulness of science in the area of spirituality. Because science is so dependent on the experimental method, he doubts that it can either prove or disprove the existence of consciousnesses superior to our own since if such superior beings exist, we would not be able to compel them to submit to our scientific experiments. Do you feel that the existence of beings with consciousness superior or greater than our own can be scientifically proven?

RS: I don’t agree with Huston Smith that the only way we can study things scientifically is by compelling things to submit to our experiments, because if that were true the whole of astronomy wouldn’t exist. We can’t do experiments on galaxies. We can’t tweak a galaxy to see which way it goes, or give an electric shock to a solar system to see whether it jerks in a particular way. All the standard experimental methods have never applied to astronomy. Astronomy is an observational science, not an experimental one. I think that the emphasis on the experimental method in science is somewhat misplaced in Huston Smith’s view, because the paradigmatic science, the science from which the scientific revolution was born, is astronomy, and astronomy is not an experimental science in the sense of altering variables, controlling conditions, and so on.

I think we are in the same position with respect to the consciousness of the stars and the celestial bodies as we are in relation to astronomy itself. We can’t do experiments on the sun or on the galaxy or on other galaxies. We can only observe them, and learn from what we observe. But if there is a consciousness of the sun, it might actually be slightly easier because it might be something we can interact with. We’d have to interact with it through our consciousness, rather than through physical instruments.

I could learn a lot about what’s going on in your body from electroencephalographs and electrocardiograms and that kind of thing, but I still wouldn’t know what was going on in your consciousness. The only way of really finding out about that would be by meeting you, being with you, talking to you, empathizing or whatever. So I think the same would apply to the consciousness of the sun or the galaxy or the celestial beings. If we are going to communicate with them we are going to have to do it by means of our own consciousness, through consciousness, possibly by some kind of intergalactic telepathy. This is obviously not within the present methodology of physical science. But that doesn’t mean that it’s totally beyond investigation forever.

WIE: So you are suggesting bringing consciousness into the study of what we normally consider to be inanimate matter and inanimate systems?

RS: Well, I think that we have to bring consciousness into our study of consciousness and, obviously, if we assume the sun and the galaxy are inanimate, then the issue doesn’t arise. If we just explore the possibility that they are conscious, then the possibility arises of actual conscious communication with them. Now, how that might happen I don’t know. To me, there are a lot of rather unwelcome attempts at conscious communication in the cacophony of channeling that’s going on at the moment. You know, people who claim to be channeling the Pleiades and that kind of thing. In a way, this is a dangerous path because it would be an open invitation to California channelers to start telling us what the stars are thinking. So, how it might happen I don’t know. I haven’t started this investigation myself but, if I did start it, I think that the first thing would be to look through the traditions—the Hindu tradition, the Buddhist tradition, Native American traditions, native traditions around the world—at what people have said and thought about their relation to the stars. Most traditions have the idea that human beings are linked to the stars and that human consciousness is linked to them. In Japan the emperor is supposed to be descended from the sun. The whole pyramid cult and the pharaoh cult were based on the idea that the soul of the dead pharaoh could be projected up into the stars, particularly into the constellation of Orion. The new theory of the pyramids, which I find convincing, is that the three pyramids in Giza are a model on Earth of the belt of Orion. They thought the consciousness of the pharaohs was projected out into that constellation, and that somehow those stars, or that region of the heavens, was specially related to the land of Egypt, to the consciousness of the pharaohs and to the highest consciousness which they could conceive of human beings attaining.

So there’s a great deal in the history of religion and in mythology that tells us something about what people thought in the past. And these are people who probably spent a great deal of time over many generations actually relating to the stars, probably by lying out at night actually looking at them, observing them very closely. No one now looks at the stars. Astronomers have fancy telescopes that take radio readings that go into computers. Astrologers, who are interested in stellar patterns, never look at the stars, they just look at Macintosh screens to see what the ephemeris says. The number of people who actually look at the stars and know them nowadays is vanishingly small—a few amateur astronomers, a few old-style celestial navigators who have been trained in the Navy or something. Otherwise most modern people haven’t a clue. So there are very few people around today who have that kind of living relationship with the stellar realm.

WIE: You are suggesting making direct contact with what one is studying in a way that sounds much more experiential than the way science is usually done.

RS: Well, science starts from direct contact and then it gets more and more into details. The science of animals and plants starts with observing animals and plants. Natural history is the starting point of any science, and that starts through direct contact. Linnaeus didn’t classify all the families of flowering plants by looking at their cells under a microscope or grinding them up and isolating their enzymes. He did it by looking at them, by holding them, touching them, feeling them, seeing them growing in the field or squashed onto herbarium sheets. He was looking at the actual plant form. We have to start from direct contact and experience. That’s the basis of our primary knowledge of things.

WIE: What do you think of the view of neo-Darwinians such as Richard Dawkins or Stephen Jay Gould, who believe that evolution is without purpose or design and is the result of blind chance and natural selection?

RS: I think this is an act of faith on their part. It’s not scientifically proven that it is without design—it is simply their assumption to start with. They want to believe that it is without purpose or design and so they say so. They are materialists and, as materialists, their view of the universe, their philosophy, has no place for purpose or design in evolution. Without looking at a single piece of evidence or data, they can deduce that it has no purpose or design because it follows from the premise from which their entire world philosophy starts.

I think that they are tied up in a way of looking at the world which starts not from observation but from dogma. I don’t think there’s anything in science itself that can tell us that evolution has no purpose or design. Maybe there’s nothing that can prove scientifically that it does have purpose or design either. What we see is a variety of organisms amazingly well adapted to their environment. We see in evolution an amazingly creative process. Their philosophy says this is just chance and natural selection. But there are other evolutionary philosophers who say, “Okay, natural selection plays a part, it weeds out unfit organisms. But the creative process in evolution is a mystery.”

Creativity is not blind chance. It’s only blind chance if you start with the dogma that it has to be blind chance—the materialist dogma. Alfred Russel Wallace who, together with Charles Darwin, discovered the principle of natural selection and founded evolutionary theory, ended up with the idea that evolution was guided by intelligent spirits, that the creative side of evolution was guided by an immanent creative intelligence, or many kinds of intelligences, within the natural world. And that’s just as compatible with the evolutionary facts as the neo-Darwinist dogmas. However, even if evolution is guided by intelligent spirits or—just to put it more generally—by intelligence immanent in nature, that doesn’t necessarily mean that this immanent intelligence is working in accordance with an overall master plan or that human cultural evolution is guided by an intelligence immanent in human beings. You know, every innovation, every gadget that’s invented, every new advertising slogan, every new book that’s written, every new piece of music or work of art that’s made, is guided by a creative intelligence. But that doesn’t mean that we know where we are going. It doesn’t mean that these creative intelligences are working in accordance with some master plan for the destiny of humanity. Mostly they are working in accordance with much more short-term goals.

So for me, it’s an open question as to whether the intelligence that underlies the creativity in life is working in accordance with some fixed goal for the end of evolution. I don’t get that impression. If you look at the diversity of life—several million species of beetles, for example, on this planet—you get the impression that there’s a kind of creativity for its own sake, a proliferation of form and variety. It’s not at all clear why there should be so many millions of species of beetles. A quote I like is J. B. S. Haldane’s reply when someone asked him, “Mr. Haldane, you have spent so many years studying life. What do your studies of life tell you about the nature of God?” “Sir,” Haldane answered, “He seems to have an inordinate fondness for beetles.”

Any narrowly anthropocentric view of evolution, the kind of view of evolution that sees it all moving towards the evolution of humanity—the idea that the whole universe came into existence so that life could evolve on Earth, so that human beings could come into existence here, so that smart guys could be professors in major American universities—is very gratifying to our collective ego. But it doesn’t explain why you needed millions of species of beetles and countless species of ants and termites in the tropical rainforests, existing for tens or hundreds of millions of years before human beings arrived on the scene. Why is all that necessary for the evolution of human intelligence? Especially since we are driving thousands of species a week to extinction and most people don’t even know they existed in the first place. It’s a great mystery as to why life and evolution should involve such an incredible proliferation of diversity and creativity.

WIE: If one thinks of the universe as having immanent intelligence, or as pervaded by consciousness or guiding intelligence, or thinks of God as the mind of the universe as a whole, a troubling question arises. How can one explain the apparent cruelty of much of nature, the fact that nature is “red in tooth and claw,” as the poet said?

RS: Well, I think if there’s a universe of diversity and of becoming, which is what our universe is, then all things are mortal. Nothing lasts forever in a universe of becoming. If we lived in a frozen, crystalline universe where nothing ever changed, I daresay there’d be no claws and no blood. But the nature of existence, as we see it in the universe, is that all things come to an end and are recycled. Even the most long-lasting things we know of, like stars, come to an end. The forms in which things come into being have a limited lifespan, so all organisms are going to die sooner or later. And it’s the very nature of animal life that animals make their living by eating plants or other animals. So, if you are going to have animals which by their very nature have to eat other organisms, you’re going to have red claws and teeth somewhere or other. Plants make their living by getting energy from the sun, but even plants don’t live forever either. Decay, disease, death and suffering are built into the very nature of an evolutionary universe of this kind. So, if we have an evolutionary universe in which change and development are built in, in which there is a constant becoming of forms and dissolution of forms, these are inevitable features. The God of such a universe, the consciousness of such a universe, has to encompass these kinds of processes. You could, perhaps, have a different kind of universe, as I said, where everything is frozen in crystalline unity forever. But that would be a different sort of universe, a universe without becoming, without development, and also without creativity. It seems to me an inevitable consequence of the kind of universe we have that there’s going to be red teeth and claws around, and suffering, disease and death.

WIE: For many people that’s somehow inconsistent with the idea that the universe is ultimately a whole which is intelligent and good.

RS: I don’t see any reason why an intelligent, good, whole has to be thought of as a frozen, timeless being. This is a Greek conception of God, not a Jewish one. The Jewish conception of God is God working in time and history and process. The Greek conception is a kind of Platonic version of something totally disembodied, totally detached from the natural world, floating above space and time in an eternal changelessness. No doubt that’s one aspect of the Divine Being, a kind of absolute sense of being rather than becoming. I think that’s a pole of divinity. But there’s another side of divinity which has to do with becoming, process, time, and that’s something that’s strongly emphasized in the Jewish and the Christian tradition but not so much in the Eastern traditions. All of us, whether we like it or not, are shaped by this Western sense of process, becoming, of the meaning of history and of things developing and changing in time. If one wants a God who’s not involved in time in that kind of a way, then there are religious paths that are based on that view. One can view the whole of creation as a terrible mistake, as nothing but a series of endless, futile cycles of becoming and birth and death, and rebirth and redeath and so on, going on and on forever. Then the only answer is a kind of vertical takeoff into a realm of timeless being where you just forget all this and leave it behind you.

When I was living in India I found that some Hindu teachers took that view, and some of the Theravada Buddhists take that view. Their whole aim is to detach themselves entirely from this world of becoming and undergo a vertical takeoff of individual salvation. I don’t think that view is deeply attractive to most Westerners. We are too embedded, perhaps, in cultural conditioning about wanting to help people or save the world, or do something. It’s built into our whole culture. Maybe it’s just a different way of responding to the sense of the divine. But I think that the Western sense of divinity is one where suffering and process are inherent in it all. In the Christian view this is extremely clear. Jesus was crucified on the cross. It’s not about a God totally removed from suffering, process, history and so on, but one who actually has an aspect of his being within it all.

WIE: Do you find that this Western view is more supported by science, particularly by the scientific theory of evolution, than the other view?

RS: Well, I would say that the whole of the Western evolutionary view says that the entire world, the entire universe, is in a process of development and change in time, that there’s an historical process of development inherent in it all. In most Indian and Buddhist traditions, as well as in that of the ancient Greeks, you have a cyclical view of history. There is just an endless recurrence of cycles. Only in the Jewish religion, and in derivative religions like Islam and Christianity, do you have this very strong emphasis on process and time. And now the West comes up with evolutionary theory, and suddenly it turns out that this is the process of not just biological life on Earth but the entire universe. Is this a vast cultural projection and justification of our religious assumptions? Or is it a fantastic confirmation of them from science? It’s hard to know which.

WIE: Do you feel that there is an objective truth ascertainable through science, or is all of science possibly a projection of certain basic assumptions?

RS: I think all of science is the projection of certain basic assumptions. You start from a hypothesis and your hypothesis has a plausibility depending on your assumptions. The universe is reflexive—in other words, it reflects what we are looking for. If you believe the most important thing in the universe is polarity, you can see it everywhere—you know, heads and feet, north and south poles, roots and shoots in plants. If you think the most important thing is trinities, threes, you can find threes everywhere you look. If you think it’s fours you find fours—the four points of the compass, squares, corners and so on. You’re always meeting people who have got philosophies where the secret of life is this or that, and you can find plenty of evidence for all of these philosophies.

The universe can reflect an infinite number of points of view, it seems. But in science the way that you decide between competing views is by means of experiments. In philosophy you can have rival schools of thought that go on for thousands of years. But in science the general rule of the game is that if you have one hypothesis and someone else has another, you can actually say, “Okay, now can we do an experiment to find out which is better?” You have a kind of contest, and by agreeing on the experiment and doing it you ask nature to decide which is the better hypothesis. It’s like an oracle. You ask a question of nature and the answer comes back from the experiment. The experiment doesn’t always resolve the question. There are always disputed points of view in science. But you can resolve some things in science.

Evolutionary theory says that if there were many forms of life in the past that don’t exist now, they should have left various traces. And indeed, you look and there are all these bones of animals that no longer exist buried in the earth in strata and layers and this seems like pretty good evidence of change in time. Then you have the idea that all forms of life are related, and that all animals and plants within a given family are related to each other. And when you look at their DNA and their proteins, you find those are all related, that there is a family resemblance even at the molecular level.

I think the evidence is pretty plausible for this process of development in time. So I think that some things are indeed supported by evidence and you can decide certain questions by evidence. There are some more metaphysical questions that you can’t, like “Is there a purpose in evolution?” That’s not the kind of question that’s easy to decide by evidence.

WIE: Do you feel that having certain ultimate beliefs or assumptions, even if they cannot actually be proven or disproven by science, can inform science, or open it up to other realms that it might not be open to without them?

RS: Well, science is inevitably based on assumptions about the nature of the universe. In the seventeenth century the view that most scientists started from was a kind of neoplatonic conception of God, where there’s a sort of timeless mind underlying the universe, essentially mathematical in nature. In this view, the mind of God is filled with mathematical equations and mathematical forms which are what ultimately shape and govern the whole of nature. The conventional scientific assumption of universal changeless laws of nature is simply derived from this neoplatonic theology of the seventeenth century. Most scientists have eliminated the mind of God from the world machine, but what they are left with is the ghost of the mind of that God, which is the idea of eternal laws of nature, fixed forever and applying to the whole universe. The big bang theory itself depends on this assumption. You assume that the laws of nature observed over the last fifty years in the laboratories on Earth apply throughout the entire fifteen-billion-year history of the entire universe, without variation, in every single part of the universe, even parts as yet unobserved by our extralarge arrays of radio telescopes. And, on this assumption, you then crank back the calculations to arrive at the big bang. But the assumption of universal laws of nature that never change, that have all been there from the beginning, is a pure assumption. There’s no empirical evidence for it whatever.

Insofar as people have tried to study the laws and constants of nature on Earth, they vary. I mean, we are always updating our view of the laws of nature and the so-called constants, like the speed of light. If you look at the data, they’ve actually fluctuated wildly over the last fifty or a hundred years in which they’ve been studied. These fluctuations have been dismissed as experimental errors. But in my book Seven Experiments That Could Change the World I actually go through the history of the fundamental constants, and I discuss how constant are the fundamental constants. The empirical evidence shows they are not very constant. The assumption is that, okay, if the empirical facts show variation, the empirical facts must be wrong because we know they are constant, because they are constants. Science is based, through and through, on metaphysical assumptions about the nature of the universe, and this one of eternal laws and unvarying constants is in fact, in my opinion, very questionable.

A lot of my own work is based on the assumption that the so-called laws of nature may not have been fixed through all time. In an evolutionary universe, why shouldn’t they evolve? And in fact, my own view is that they are not laws at all. They are more like habits. There’s a kind of memory in nature and these habits of nature evolve as time goes on. They are not fixed laws that were all there from the beginning—a position that can never be proved by experiment, but can only be assumed as an axiom. Yet most scientists take this for granted, as an unquestioned assumption. So I think science is based on all sorts of assumptions about nature which are essentially theological or metaphysical. In point of fact, most of the ones that science is dominated by at the moment come from a particular kind of theology common in the seventeenth century, this very Greek neoplatonic theology of God as beyond all space and time, with a mind that is eternally full of changeless mathematical ideas, and with the universe coming forth from that kind of mathematical God. If you don’t call it “God,” you just call it the laws of nature, or mathematical reality or something. But this is the assumption. Stephen Hawking and Steven Weinberg and all the leading physicists of today, including Einstein, all subscribe to this kind of view. Even though they wouldn’t call it “God,” they believe the ultimate reality is a timeless mathematical realm.

WIE: It sounds like the kind of universe you are describing is much more dynamic and also more mysterious.

RS: Yes. Their universe is the universe of rationalism. It’s the idea that the ultimate reality is a rational mathematical mind. The only really valid form of human thought is rational mathematical thought as exercised by great mathematicians and Nobel prize winning physicists, and all the rest is kind of messy detail that hasn’t yet been sorted out. The truth, for them, lies in this ultimate mathematical reason. It’s mysterious in its way, and it’s founded on a kind of mysticism. This view started with Pythagoras in ancient Greece; it all comes from the Pythagorean mystery school, which was a mystical school of thought. So, implicit in conventional science is indeed a kind of mystical insight. But many scientists have lost sight of its mystical origins and it’s just become a kind of dogma.

WIE: It seems that the universe they have created is much more fixed than what you are suggesting.

RS: Yes, even though science itself has revealed that the universe is evolving. The data have revealed that the whole universe is radically evolutionary, even though these assumptions are still in place that it’s radically nonevolutionary. That’s why there’s a big conflict within science from its own findings. My own work starts from this conflict, saying, “Okay, let’s take seriously the evolutionary nature of reality.” Then we have to question the idea that it’s all based on totally fixed unquestioned mathematical laws.

WIE: I understand that you taught at Cambridge University for ten years. What compelled you to leave traditional academia and strike out into the more risky, unorthodox and uncharted waters that you have been exploring since then? And what role has spiritual practice and experience played in this journey?

RS: When I was at Cambridge I was very conscious of the great limitations of biological theory. Although I enjoyed doing research and teaching biology there, I became increasingly aware that the mechanistic theory of nature was a very limited way of looking at things. It didn’t correspond to the fullness of what living things were doing. Just grinding them up and isolating enzymes and so on tells you something about organisms, but it doesn’t tell you how they relate to each other in societies, how they behave in the wild, and that kind of thing. All of that perpetually eludes this reductionistic kind of science.

Then, to find out more about tropical botany, I spent a year in Malaysia, where I worked at the University of Malaysia. This was in 1968. On my way there, I traveled through India for three months. That had a huge impact on me. I suddenly saw this astonishing culture which I found completely fascinating, which had riches and depths beyond anything I had ever been taught about in England.

I got interested in meditation and when I got back to England I did Transcendental Meditation for a while. Then I got into other forms of Indian meditation. I didn’t want to go on with the narrow, reductionist science at Cambridge, and the scientific community there was so committed to this narrow view. So I found a job in India, at an international agricultural institute, where I could do real science, working on Indian crops, that might potentially be useful, and at the same time live in India, which was where I wanted to be. I spent four or five years living and working in Hyderabad, at the International Crops Research Institute for the Semiarid Tropics, where I was the crop physiologist. During this time I had the opportunity to find out about Sufism, because of the Sufis in Hyderabad, and about Hindu philosophy. Gurus came through giving discourses and I visited various ashrams. But I actually found myself most drawn to ordinary Hinduism: the pujas, the people’s practice of making offerings to sacred plants in the mornings, the greeting of the sun in the morning, the pilgrimages to temples and sacred places, the holy trees, holy rats, holy cows, and holy snakes, and that kind of thing. I just liked the sacralization of nature and the earth which I found there. I’d gone there interested in the higher reaches of Hindu philosophy and meditation and actually found myself drawn to what most sophisticated Hindus despised—the folk practices of Hinduism. That drew me the most, and that I found most attractive because it involved a kind of sacralization of the earth and a different attitude toward nature and matter and life.

This was quite a shock to me at first. But I was intrigued by it and it played for me a very important role in giving me a broader view of things. Then I realized that I couldn’t be a Hindu because I wasn’t Indian, and it would be ridiculous to go back to England dressed up in Indian clothes and pretending to be Indian. I visited a few gurus and asked their advice on my spiritual quest. And one or two of them said something I never expected them to say: “You come from a Christian background, you should find a Christian path. All paths lead to God and that’s your path because that’s your ancestral path.” This actually came to make a lot of sense to me. Then later, I met Father Bede Griffiths, who was my main teacher in India, and I lived in his ashram for a year and a half. He was a Benedictine monk who lived in India and followed many aspects of Indian spirituality while remaining a Westerner with Western views. He was a bridge for me between these two cultures and helped me reconnect with the mystical traditions of Christianity, the core of the Christian tradition which I hadn’t really heard about as a child. So that, for me, was the way that I returned to a Western way of looking at things after a total of seven years in India. It took me a long way, going through that Indian path, and coming back.

Then, when I was living in India, I became very friendly with Krishnamurti, and later I saw quite a lot of him. I found him very refreshing. But there were some problems with his approach. He was very good at asking questions, but he wasn’t very good at suggesting answers, and I think that a lot of people got quite lost as a result of his teachings. But I had a lot of fun being with him and I liked him a lot personally. India played an important part in all this, and my time there, which combined doing Western-style science with living in India, was for me the right solution at the time. It meant I could do both. It provided a way of being in both worlds.

WIE: That actually leads me to my last question. Do you feel it is possible to be wholly committed to science and spirituality at the same time?

RS: Oh yes, definitely. I think that many of the great scientists in the past have been very spiritual in their way of life. Michael Faraday, for example, who discovered electromagnetism, was an extremely spiritual man, an extremely good man. Newton was preoccupied as much with the nature of the divine, and the divine will and purpose and presence in the universe, as he was with science. Even Descartes was very interested in theology and spirituality. If you look back through the history of science, many of the greatest scientists have in fact combined these two. There have also been scientists who have been dogmatic atheists, but most of them I wouldn’t number among the greatest in the history of science. Darwin was an atheist in the end, but he wasn’t a dogmatic one. He was quite a moderate and rather sorrowful atheist. The Dawkinses and the T. H. Huxleys and so on are the propagandists of atheism rather than the original creative spirits. They are the evangelists of this atheistic view—they are not the great creative spirits in science.

My own view is that science as a method of inquiry involves learning by experience. That’s really what it’s about. There’s nothing in that that is incompatible with the spiritual life because I think the spiritual life involves learning from experience as well. What is incompatible with the spiritual life is a dogmatic atheism and materialism which has come to dominate particular parts of modern science and, for some scientists, has come to be identified with science itself. But this is a paradigm. Scientific models of reality change, but science goes on even so. Before the 1960s most people believed that the universe was eternal; after that they got the view of an evolving cosmos. Before Darwin most scientists believed that the world was created in 4004 b.c.; after Darwin most have had a much expanded view of time. So it’s not a particular set of ideas or doctrines which constitute science. It’s a method of inquiry, the idea of building on what has gone before and exploring by experiment, and also an openness to new ideas. And that, I think, is completely compatible with a spiritual view of things. I don’t think you can prove some of these spiritual truths by scientific means. Science is a limited method of inquiry. It looks at the repetitive aspects of the natural world, so its sphere of interest is relatively confined. Spiritual experience would involve the limits of consciousness and the nature of consciousness. It overlaps with science in the realm of psychology to some extent. So spiritual inquiry has a broader sphere and science a narrower sphere. But I don’t see any incompatibility between the two.

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Art Students League of New York

If you are passing by New York you might want to drop in for a lesson in Anatomy and Drawing as i did for a month when i was there is the late 90’s. The reason i am writing this now is because i came across the brochure for the course that i attended – 1997- 1998. The tutor was excellent: he believed firmly that good figurative drawing, hence painting, came from studying anatomy. Knowing the underlying muscle structure, to back up your observation makes a good drawing. Hence the mark made is a combination of observation and the memory of studied muscle structure.

Check it out for yourself: http://www.theartstudentsleague.org/

Looking at the price list in front of me, then it would have cost me less than £100/a whole month for about 4 hours everyday, monday through friday.

Todays prices check it out: http://www.theartstudentsleague.org/pdf/summer_sched_2010_web_r1.pdf

Pollock did say at sometime that it took him about 10 years to unlearn what he learnt at the league, before he decided dripping paint was OK. Something like that…he said. The Honorary memebers list is long: those who either studied or were instructors at the league at sometime during its history. You know what: it is allowed to be cool in New York.

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The Ending of Time

I happen to catch Brian Eno (musician) on the ‘culture show’ (21st May 2010) where he was interviewed at the Briton festival: he said that he was going to talk about the purpose of art. The interviewer was intrigued as the Arts was one of those subjects that is open ended as to its purpose as it is probably the only field that is free to be anything it wants to be. Total freedom to create. He said that art was part of our biological being: it is programmed in our DNA. When our time is our own the first thing we do is we start to make objects of decoration which then leads us to higher/more complicated forms of art. Art takes us to a new space and so on. So it has a natural process that is inherent in us. I like to thing that it has its part to play in the unfolding of inner form. It is a dialogue between the artist and his work and in this ‘relationship’ he/she opens up to ‘what is’: that is all the factual aspects of the unchanging, all encompassing, structural nature of the universe, both tangible and the intangible, which includes us and our part in it.

The ‘ending of time’ is really a follow up from the previous 2 articles. When one moves away from the dogmatic center to then be in a space of ‘choiceless observation’ with no judgment in the mind. Living with a mind that is only observing and watching and with this comes stillness. Now the question you ask is how does this new space work. Out of this stillness what are the new rules of the mind. How does information become in this new space.

‘The nature of duality and non-duality are revealed in simple language. In that state of questioning, a state when the questioner, the experiencer has ceased, in a flash, “truth” is revealed. It is a state of total non-thought.’ (Jiddu Krishnamurti)

‘The mind which is the vessel of movement, when that movement has no form, no “me”, no vision, no image, it is completely quiet – In it there is no memory. Then the brain cells undergo a change – The brain cells are used to movement in time. They are the residue of time and time is movement; a movement within the space which it creates as it moves – When there is no movement, there is tremendous focus of energy – So mutation is the understanding of movement, and the ending of movement in the brain cells themselves.’ (Jiddu Krishnamurti)

I think when the mind is still from only observation a whole new physics comes into being. So how does the NEW come through in this new space? We now look at the ‘The Tenets of Quantum Physics’ by Amit Goswami (theoretical quantum physicist).

Non-Locality
We are all interconnected – even without signals, and experimental evidence is proving our inherent unity.

Tangled Hierarchy
In our brain, we become one with the neuronal images of an external object because of a tangled-hierarchy, a circularity. The observer is the observed.

Discontinuity
The discovery of something new of value in though is a quantum leap of Aha! Insight

The first 2 points are important to the artist but it is the 3rd point which shows us the way to what’s new I think. When I say, I think, I mean, I am putting an idea across: it is not ‘what is’ (but it might be), a natural fact that has always been true as Krishamurti explains: through observation we need to recognize these facts, both tangible and intangible.

Non-Locality: also includes the work of Rupert Sheldrake, where with the morphogenetic field we are all connected (see earlier article): that organic database in the ether that we help create and feed off.

Tangled Hierarchy: In our brain we are one with what we observe. ‘The observer is the observed’ was first put forward by Jiddu Krishnamurti purely by observation, and later taken up by Amit Goswami as a quantum fact. We tend to stand away from what we observe of ourselves and the environment, but really we are one with it: we are what we observe, and it does not exist apart from us. If you look at it through a neuronal perspective, then you can see how it works: what you are and what you observe just sits there next to each other, zapping away in your mind. You and what you observe are one. So when we follow a problem we might have with the ‘self’ or that ‘center’ created through time in us: we watch it totally to see what it does and how it functions. But we watch it like it is one with us: ‘the observer is the observed’. It changes I/we change. Get it. ( I was taken in by a statement that Alex Katz made on TV recently, when the interviewer asked him what was the content of his work and he said the style was the content. He said he did not think Rembrandt was a good artist, because he always was making work, with the question to the viewer of ‘get it’, ‘get it’, ‘get it’ with each work he made). When we see the ‘what is’ of it, we then bring it to an end. We are really cleaning up the database. We have to deal with the 100’s and 1000’s of years of accumulated happenings, through from the times of the ancients, to the present time that we have made of ourselves: we observe and bring the un-natural elements to an end. The stillness in mind comes as a result of some of this process. It is a process of cleansing and being, through observation. Also in Tangled Hierarchy it has been said that some things/happenings with you perhaps, cannot be explained when observed in an isolated manner: the reasons for this is that the ‘physics’ of it all is complete, an equation can be formed, only when all the elements/people are put together and looked at as in a group.

And then there is discontinuity: this is information that comes through to you that does not have to go through a medium to arrive to you. Like when an electron in an atom goes from one level to another it is not seen to go through a medium to arrive. It appears and disappears. So the new comes to you in this fashion: it appears as what we know as insight. So when you discard such information, because your thinking mind does not recognize it, then you discard a possibility that could have brought change. So when a mistake shows itself as something new, but you discard it because you are busy being a carpenter of an artist, then you discard something that would have taken the front line of art for a quantum leap. And so on.

You can ask Damien Hirst about discontinuity because people are still trying to get their heads around his work. He has changed some of you forever by just you looking at his work: the function of art: to transform you. And it ain’t bingo.

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Krishnamurti On Art And Creativity

A true artist is beyond the vanity of the self and its ambitions

A true artist is beyond the vanity of the self and its ambitions. To have the power of brilliant expression, and yet be caught in worldly ways, makes for a life of contradiction and strife. Praise and adulation, when taken to heart, inflate the ego and destroy receptivity, and the worship of success in any field is obviously detrimental to intelligence. Any tendency or talent which makes for isolation, any form of self-identification, however stimulating, distorts the expression of sensitivity and brings about insensitivity. Sensitivity is dulled when gift becomes personal, when importance is given to the “me” and the “mine” – I paint, I write, I invent. It is only when we are aware of every movement of our own thought and feeling in our relationship with people, with things and with nature, that the mind is open, pliable, not tethered to self-protective demands and pursuits; and only then is there sensitivity to the ugly and the beautiful, unhindered by the self.


To sing we must have a song in our hearts

Learning a technique may provide us with a job, but it will not make us creative; whereas, if there is joy, if there is the creative fire, it will find a way to express itself, one need not study a method of expression. When one really wants to write a poem, one writes it, and if one has the technique, so much the better; but why stress what is but a means of communication if one has nothing to say? When there is love in our hearts, we do not search for a way of putting words together. Great artists and great writers may be creators, but we are not, we are mere spectators. We read vast numbers of books, listen to magnificent music, look at works of art, but we never directly experience the sublime; our experience is always through a poem, through a picture, through the personality of a saint. To sing we must have a song in our hearts; but having lost the song, we pursue the singer. Without an intermediary we feel lost; but we must be lost before we can discover anything. Discovery is the beginning of creativeness; and without creativeness, do what we may, there can be no peace or happiness for man.


One can be creative without having any particular talent

The freedom to create comes with self-knowledge; but self-knowledge is not a gift. One can be creative without having any particular talent. Creativeness is a state of being in which the conflicts and sorrows of the self are absent, a state in which the mind is not caught up in the demands and pursuits of desire. To be creative is not merely to produce poems, or statues, or children; it is to be in that state in which truth can come into being. Truth comes into being when there is a complete cessation of thought; and thought ceases only when the self is absent, when the mind has ceased to create, that is, when it is no longer caught in its own pursuits. When the mind is utterly still without being forced or trained into quiescence, when it is silent because the self is inactive, then there is creation.


Art divorced from life has no great significance

Art divorced from life has no great significance. When art is separate from our daily living, when there is a gap between our instinctual life and our efforts on canvas, in marble or in words, then art becomes merely an expression of our superficial desire to escape from the reality of what is. To bridge this gap is very arduous, especially for those who are gifted and technically proficient; but it is only when the gap is bridged that our life becomes integrated and art an integral expression of ourselves.

J.Krishnamurti, From EDUCATION AND THE SIGNIFICANCE OF LIFE


You may be a potential writer, or a poet. or a painter. Whatever it is, if you really love to do it, you are not ambitious, because in love there is no ambition.

Life ahead, chapter 7

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The ‘new’ comes from working off a kind of center

I am going to let J. Krishnamurti (K) explain this one. First we have to find out what is the essence of that ‘center’ that we live with.

‘Thought is really, if one goes into it, if one observes it, the response of memory; and without memory there is no thought, no thinking. Whatever we are asked, whatever the challenge, whatever the response to that challenge – all that is still the recording, the response of the past, of the memory, of all the experiences that one has gathered. And that past has always a center from which we think; and that center is more emphasized in our life, has more importance; that center becomes profitable, that center assures security. From that center we think, we act. That center is more or less static; though its challenge takes a different form, a different shape, though things are added to it and taken away from it, it is still there. That center has become important for each one of us. That center might be the family; that center gives me comfort, gives me pleasure; that is the thing round which I have gathered so many things in order to protect myself. So, there is this center which is created by thought, thought being the mechanism of the past. Until we understand thought and the thinker, there must be duality, there must be conflict; and all conflict wastes energy, deteriorates the quality of the mind.’

I am only interested in how all this works with the artist. He has created a center from where he makes art. The center is created with time as an expression of his experiences: it is a reflection of his past.

‘We have a center, and that center is created by thought; that center is the background. That background is very extensive and historical and has also plenty of mythology and moral values of society. However extensive that background is, there is always a center in it, the ‘me’, which is more important than history. That ‘me’, that self, is created by thought, because if there is no thinking, there will be no ‘me’. The ‘me’ is not created by some supernatural entity; the ‘me’ is created by everyday incident, by every accident, by every experience, by the innumerable assertions and denials and pursuits.’

So the artist constructs his form with the assistance of all his idiosyncrasies: his past.

But the ‘new’ in art does not come from the known.

When it comes to the final solution: let’s face it: art is made to transform and only the ‘new’ in art can do this. So can you work from no center: the magic question.

‘Is it possible to have no center at all? Do not translate this into your own language, into what you have read in the Gita or some other book; forget all that, and look at the issue. Do not interpret it in your own peculiar language – then you lose the vitality of perception.’

So what is the ‘self’ like with no center. No center does not mean no ‘self’. Thought is inherent part of the ‘self’. It is not going to go away. ‘The observer is the observed.’ All you observe is not going to cease when there is no center. Stillness is not nothingness. Stillness is to allow happenings to continue as they are, but you do not do anything about them. You only observe them. Choiceless observation.

‘Meditation is actually this process of investigation into oneself. If you go into it deeply yourself, you are bound to come across all this, where it is possible to think without the center, to see without the center, to act so completely without idea and approximation, to love without the center and therefore without thought and feeling. And, when you have gone through all that, you find out for yourself a mind that is completely free and has no borders, no frontiers – a mind that is free, which has no fear and which does not come about through discipline. And if one has gone that far, one begins to see – or rather, the mind itself begins to observe the thing itself which unfolds thought – that the quality of time, the quality that is yesterday, today, and tomorrow, has completely changed, and therefore action is not in terms of yesterday, today, and tomorrow. Such action has no motive – all motive has its root in the past, and any action born out of that motive is still an approximation.’

A center that does not churn up its past for an idea but keeps it free for something new to show itself. Observing the happenings without intervention is to be still.

‘So, meditation is the total awareness of every movement of thought and never denying thought – which means letting every thought flower in freedom; and it is only in freedom that every thought can flower and come to an end. So out of this labor – if it can be called labor, which is really out of this observation – the mind has understood all this. Such a mind is a quiet mind; such a mind knows what it is really to be quiet, to be really still. And in that stillness, there are various other forms of movement which can only be verbal to people who have not even thought about this.’

‘……the mind in that state of aloneness is capable of total individual action – individual in the sense that it is not related to a particular society or culture. Such a mind becomes silent, completely still, and in that very stillness there is an extraordinary movement, a movement which is not put together by the mind. That movement without any center, without any direction or objective, is creation; that movement is the real, beyond the measure of time and man.’

The ‘new’ in art comes out of this stillness and for that center to cease completely is the only revolution, but that revolution cannot come about through any effort on the part of the conscious or the unconscious. You cannot think yourself into your center ceasing. There is no method to make it cease. ‘Choiceless observation is the only way: by complete cessation of all choice. Then the mind becomes extraordinarily quiet, utterly still, and in that stillness there is a revolution at the center. Only then is there a possibility of being truly individual because then the mind is alone, uninfluenced. That state is creativeness.’

Look at it this way: that choiceless center kind of mind, sits at the center of the room. When you live only by choiceless observation you remain at the center. If you start to make all your observations an experience you move towards a corner and ‘become’. If you finally sit facing one of the corners, you are blinded of the other 3 corners and of the Truth of things. You start to think off the corner you are facing. At the center there is only stillness through observation with no judgement.

And out of this stillness of ‘choiceless observation’, the ‘new’ in mind is born in action.

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