Iona Miller 2005-2007



IONA MILLER MAIN HOMEPAGE: Collected Works/Ionasphere
Old Updates - Activities
Dec. 2003 Art Show and Manifesto
Underground and Transgressive fan site/writings/digital history
JNLRMI - biophysics journal
Nexus Magazine - online articles
Outsiders: Transgressive Potency in Underground Art
Iona's FUTURE SCIENCE Updates and Links

NEW 2008 IONATOPIA PORTALS 2008 I now have three main Homepages with menus, because I've had to move on as each filled to capacity. The original is IONASPHERE 2000: 2000-2007 is here IONATOPIA 2007: 2008 and full menu is here MENU: SOCIAL NETWORKS FACEBOOK TRIBE BLOG: MySpace: GAIA: Gaian Ambassador JNLRMI Associate Editor My portals each contain one main subject and are compilations of my writing on those topics. NEW SITES: CREATIVE PROCESS SPIRITUAL ALCHEMY THE MODERN ALCHEMIST MAGICAL PERFUME BOOK ~SUPER SCIENCE~ Spiritual Physics Virtual Physics My Zero Point Photonic Human EmBEDded Holograms Psiona Parapsychology Beyond MK Ultra - MRU Climate 2012 Neurotheology Paramedia Ecology Biophysics Iona Brainstorm Electronic Voice Phenomena Espionage Central Occult Espionage Mind Control for Dummies Bacon is Shakespeare Triangle Book of St. Germain ~SOUL SUPPORT~ Conscious Alchemy Creativity Chaosophy Journal The Modern Alchemist Book Temple of Living Light Emergent Healing Edgeworks Hypnosis Mythic Living Harmonic Continuum Synergetic Qabala Magical Perfume Book Energy Psychology Dreamhealing Book Spiritual Alchemy SuperPortal We all know that art is not the truth, art is a lie that makes us realize the truth. ~Picasso ~IO ART~ IONATOPIA 2007: IONASPHERE 2000: Pop Occulture Know Brow Art Digital Universe Kabbalah Luminata Science-Artificers Guild, Int'l Science-Art Renaissance Sacred Geometry Iona Miller Iona Miller Art ESPIONAGE SERIES The Spywhisperer Espionage Central Occult Espionage Mind Control for Dummies Beyond MK Ultra - MRU Psiona Parapsychology Paramedia Ecology Ionatopia _______________________ 10/2005


As a digital artist I paint with LIGHT; as a Qabalist I practice in the Temple of Living Light. Recently discontent with static and Flash imagery alone, I have begun venturing into the world of filmmaking. Comes see some of the art frames I have prepared for animation at my new Kabbalah Luminata Portal at


PUBLISHING Iona’s painting “The Diamond Body”, plus commentary in Science-Art art book;
see and
THE TRUE MEANING OF THE DAVINCI CODE By Robert Pope; ISBN 0-9577784-7-3 (155 pgs) Science-Art Research Centre of Australia, Inc., 2005 By adhering to a mechanistic worldview, Western civilization is on a path to extinction, says Science-Art philosopher Robert Pope. The ancient knowledge passed on by the Greeks upheld a survival science, a “Savior science” that was misinterpreted by Leonardo Ad Vinci but was privately understood by Isaac Newton. In response to Dan Brown’s The da Vinci Code, Pope hopes to set the record straight by returning to the atomistic philosophy of the ancient Greek scholars such as Plato and Philo. Plato’s worldview is much more akin to a holographic reality, Pope argues. The “true meaning of the code”, he suggests, relates to atomic movement creating evolutionary wisdom, and he points out some classic examples of Renaissance art that communicate this truth.

ART WRITING Jungian Psychology Cut-Up ESSAY on artist GENESIS P-ORRIDGE: PandroGENy: A Love Story of Gender Reunion
~The Yab-Yummy Way of Imagination.

“The artist is not a person endowed with free will who seeks his own ends, but one who allows art to realize its purposes through him. As a human being he may have moods and a will and personal aims, but as an artist he is 'man' in a higher sense - he is 'collective man,' a vehicle and molder of the unconscious psychic life of mankind.” (Carl Jung, Psychology and Literature, 1930)

PORTRAIT Animated portrait of Iona by international electronic artist in Paris, Philip Wood:

Coming Attractions: * Travelling road show with Iona on Quantum Biofeedback, Lorin Kiely on Top Down Yoga, Mark Comings on plenum physics, and cosmic comic Swami Beyondananda, opening at Alex Grey’s CoSM in NYC.

* VIDEO HYPNOSIS DVD from Temple of Living Light Productions, with brain drivers for Alpha and Theta. Next: “MOODIES” based on consciousness journeys. Soon: “VIRTUAL KABBALAH”, digital pathworking.

* BOOK HEARTSTRINGS: NONLOCAL HEALING is both a co-authored book and series of articles in the works with a Miami Neuropsychiatrist and distance healer, Marshall F. Gilula, M.D. Groundbreaking Experiments with quantum biofeedback software and hardware.

* BOOK Also coming, BEYOND MK ULTRA, co-authored with Charles Stone, Chief Deputy to Dr. Carl Schleicher in Mankind Research Foundation. After his military career in psiops, Schleicher opened Mankind Research Unlimited, a parapsychology and alt.healing SRI or IONS type thinktank. In the 1980s, he was exposed as the creator of the deployable human cyborg – a Manchurian Candidate, and is the likely model of the X-Files “Cigarette Man”. My ex-husband physicist Richard Miller worked as his NW Regional Director of MRU after he published “Holographic Concept of Reality” (with Stanley Krippner) in 1973 – long before anyone else. This is the inside track. See “Getting Blood from a Stone”

Also soon:
* BOOK The release of Iona’s interview in Zora Von Burden’s THE LUX ARTILLERY: Exceptional Underground Women










_________________________________________ NEW 7/05 MANDALAPALOOZA SLIDE SHOW Links & Wall Text Be sure to watch these slide shows as the thumbnails do not do them justice!


Mandala ANIMAtions ~
Custom animations suitable for large screens for Music, Fashion, Meditation, and Lecture Events









___________________________________________ NEW 6/2005: BIOPHYSICS Portal

New 5/2005: Nexus Conference May ’05 Amsterdam pix

___________________________________________________ ARCHIVES & IONATOPIA PORTALS 2005:
















NEW 6/2005: BIOPHYSICS Portal





What Inspires Me

Digital Cymatics:

Iona paintings Animated:

Cyberotica Art Manifesto:

Edge Artists as Strange Attractors:

Random Order Revisited:

History of Digital Art 101:

Media Ecology:

Lydia Lunch: Beyond the Pale:

PandroGENy: Genesis P-Orridge: WEB SPAWNER UPDATES

Iona also collaborates with the following Digerati: [Partner, O.A.K.] [Editorial Board JNLRMI; biophysics] [Consultant in ULF EM research] [Associate; Wellness & CAM] [Consultant; Real Fantasy] [American Consultant, Science-Artist] [Co-artist with animator Bob Judd] [Consultant] [Consultant] [Investigative journalist] [Writer] [Indigenous Peoples Advocate/Activist]

Iona is published by Phanes Press, Destiny Books (Inner Traditions International), Autonomedia, Nexus Magazine, Dream Network Journal, Journal of Nonlocality and Remote Mental Interactions (JNLRMI), Chaosophy Journal, DNA Monthly, and more.

NEW 2005: Digital diva fauxto gallery:

Psychotronic Animations:

Digital Diva Slideshow Gallery

Mystique Slideshow Gallery

Psychogenesis Slideshow Gallery

NEXUS, Brisbane, Fall ’04 Slideshow

Cryptoegyptomania Gallery

* buy the book “THE MODERN ALCHEMIST: A Guide to Personal Transformation” IS BACK IN PRINT FROM IONA $14.95 + $4.50 S&H for single book; Paypal at

About the author: Trandisciplinarian Iona Miller is a consultant, writer, hypnotherapist and multimedia artist doing groundbreaking work on the relationship of chaos theory and emergent paradigm shift in experiential psychotherapy, new physics, biophysics, philosophy, cosmology, medicine, creativity, art, qabalah, magick, metaphysics, and society. See her annual CHAOSOPHY JOURNAL at homepage Also visit 2005 UPDATES at and ARTLINKS at

Thank you for visiting my page at Angelfire. Please come back and visit again!


IONA MILLER, October/November 2004

Iona Miller Webpresence 2005 Ionatopia is under construction ;~D new articles are posted now. THE IONASPHERE: COLLECTED WORKS
Iona is published by Phanes Press, Destiny Books (Inner Traditions International), Autonomedia, Nexus Magazine, Journal of Nonlocality and Remote Mental Interactions, Chaosophy Journal, and more.

WHAT'S NEW (Nov. 2004): Science-artist, Iona Miller has many new online additions to her poetry science webpresence since the last update of her glutted Collected Works IONASPHERE site in 2002. Its fractal-like dispersal, virtually infinite self-similar reiterations, reflects her core interest in the the psychophysical aspects of chaos theory. They include new writing, art work, consultancies and collaborations. A google search on her name will turn up many new portals, including an update page at CHAOSMAGIC.COM and her art updates at 50MEGS.COM. Her interests in tranceforming shamanism, technoshamanism, and noetics continues ~ but not exceeding her interest in amazing people. She is also relatively active at, an invitational underground network for discussing a wide variety of scientific, artistic, mystical and other free-wheeling ideas and lifestyles. Iona has just been asked to interview for Zora Von Burden's new book, THE LUX ARTILLERY: INTERVIEWS WITH AN ARSENAL OF EXCEPTIONAL WOMEN.


Iona just returned from a trip to Brisbane, Australia with ex-files Richard Alan Miller where we had a fine time at the Nexus Conference and met such interesting researchers and activists as publisher Duncan Roads and his wife Catherine and our editor Ruth Parnell, HAARP watchdog Nick Begich, conspiracy journalist Jim Marrs, 'Star Child' skull researcher Lloyd Pye We are booked for Amsterdam in May 2005.

Also, sacred geometer Jain, healer Glennys Mackay, and the head of the Russian Department of UFO Research, Science and Technical, National Security Academy, based in St Petersburg, Russia, Valery Uvarov, and many more.

Some amazing stories circulated, both on and off the record. The audience participants were bright and well-informed and a joy, each and every one. We hope to hear from them all as years go on. Many have joined in at Tribe; how about you? Aw, come on, don't be shy! ;~D

After showing psychotronic art, we went to the Science-Art Research Centre in the shadow of Mt. Warning where Iona was appointed Consultant in Science-Art Theory. She hopes to establish a platform for American Science-Art Research. Her painting, 'The Diamond Body' is scheduled to appear in master painter Robert Pope's latest international sci-art book, and a following international show endorsed by the head scientist of the British Royal Society and Yangzhou University, China, among others. See and

Scientists throughout the world working at the cutting edge of human survival technology are now seeking a multidisciplinary solution to the social, economic and environmental crises threatening us all. There is a desire in Western culture to try, in some way, to enhance human values. There is also a growing realization that the technology that the West has helped to create is now systematically causing the destruction of human values and the degradation of the global environment. More romantic worldviews of science and technology (Poetry Science; Science-Art; Freestyle Multimedia) can lead toward viable visions of an optimistic future.

Recent major scientific discoveries have been made which demonstrate that the living process is indeed associated with a very complex infinite universal energy system. This is now bringing about the collapse of the present world view and is also identifying the geometrical logic base upholding the lost ethical and humane physics value system. This scientific knowledge can now be used to construct a global human survival technology of unimaginable wealth, resources and human opportunity. The catalytic properties of art have been identified as the essential ingredient needed to provide the opportunity for this human survival technology to be developed.

Human survival can now be seen to depend upon a rather unusual problem. It is no longer possible to obtain a simple policy statement from Western Universities or governmental educational policy-making departments which will continue to endorse or deny the validity of the destructive physics logic base from which technology and global economic rationalism is derived. Requests for such a fundamental university educational policy statement results in inarticulate confusion. This is simply a reflection of the traumatic culture shock being caused by the collapse of the prevailing world view. Such a situation cannot contribute toward the betterment of the global human condition because it is unable to cope with the new human survival knowledge that is now accumulating throughout the world.

We have the strange situation now that scientists, when forced to examine rigorous human survival Creative Physics data are actually classifying it as 'while not factually erroneous it must remain inconceivable'. We have a science and technological culture controlled by an overriding law of universal destruction that insists that the universe must become a frozen lifeless corpse. This prevents us searching for a human survival technology because such a technology links life to an aspect of infinite universal reality. Quite obviously both ideas cannot exist together. The unfortunate problem is that, even as reliable scientific human survival evidence accumulates it cannot be even considered within the prevailing world view. It is therefore now necessary to talk about the collapse of this world view so that the human survival technology can begin to be envisaged. Science-Art Research Centre has been carefully constructing such a model for over twenty years.

The culture shock associated with this collapse is enormous. As is normal in such cases of severe culture shock trauma, the initial reaction is generally one of complete denial. However, because the issue embraces fundamental human ethical values, then sooner or later it must enter the international legal system on behalf of global human survival. Already the United Nations University Millennium Project, South Pacific Node, American Council, has fully endorsed the concept of using Creative Physics fractal logic for the cause of global world peace and such an awareness is growing via the internet.

In 1999 Science-Art Research Centre of Australia published a paper entitled THE ENGINEERING OF GLOBAL DEMOCRACY, written by its engineer and prefaced by a former Professor of Life Sciences at NASA. The thrust of the paper was about using a fractal logic filter to obtain a human survival technology from information overload. A copy of this publication was sent to 100 famous engineers and scientists throughout the world. The replies to the Centre's publication revealed that enough scientists are working at the cutting edge of Creative Physics Science-Art research to implement the human survival technology. In particular, we were amazed that the chief scientist to Britain had been warning for several years that any country or government which did not realize how to use fractal logic to obtain new technology from information overload would become losers in the 21st Century. (Robert Pope 2003).


End of October 2004 - November found Iona on art tour with the Gartel Cartel in Phoenix, Scottsdale, Tempe, Tucson with digital fine art godfather Laurence Gartel and former South Park animator Bob Judd. Halloween kept right on going when Io and Judd flew to LA on s-Election Day to see Psychic TV3 in concert at The Knitting Factory in Hollywood and say hello backstage to Genesis, after a 10 year hiatus. Djinny was GORGE, with the new look settling in. PTV3 rocked; the club kids were fab. See more at and

We stayed with Don Bolles, Darcey Leonard and DJ Prickle who were busy converting the Parlour Club into Club Screwball for Gen's afterparty. Bolles, of The Germs and .45 Grave started the LA punk scene, much like Joey Ramone on the Right Coast. He has also played with PTV in the past. You might say he is "the first of the Mohicans".

Bob got us ready for this mindwarp adventure by inflating a sparkling purple 8 foot tarantula in his living room. As he gave away Deception Dollars all over his lawn to Trick or Treaters on Halloween they were treated to Poky the parrot singing along with Diamanda Galas and the Litanies of Satan, while Cardinal Sin filmed Io for future shenanigans. Bob's "terror house" was an artistic success with anti-Bush placards filling the picture window.

We made lots of art, print and video, generating raw footage for a variety of projects including The Bride of Deception -- for each of us. We enjoyed the Scottsdale International Film Festival, where Laurence judged the Digital Film division, and his lecture and cinematic presentation of his new art/music DVD [Gartel: Trance, Dance & Other Living Things] both at SIFF and SMOCA (Scottsdale Museum of Contemporary Art).

Because art permeates life and life permeates art, when Iona sprained her foot and was in a wheelchair, that got chronicled, during the Bush acceptance speech by Gartel. Before, during and after First Friday, we gave away and left as tips, or burned many Deception Dollars all over the Southwest. See

Bob took us on a tour of Phoenix galleries, including Perihelion and Ice House. My plans are in the works for Art Basel Miami in December '04, and an art tour in LA for Jan. '05.

Winter is also the time to produce new works; most likely photographic Faux-tos this year. See: and click on PHOTOS and click PHOTOS

Iona continues her work and interests in *integral biophysics with which is in the middle of conducting *RV experiments,
Dr. Gilula's which is aiming at webcasting *wellness curricula for medical trainees,
Champion Tree Project http:championtreeproject *cloning world-class heritage trees,
and David Edwards which is developing REAL FANTASY, *immersive 3D entertainment coupled with fine art.
And of course there is more fun to come with the Rogues Gallery at Ask to join her there via her regular email, for lively discussions on a wide variety of topics from art, music, and psychology through philosophy and physics. This is free AOL for the Underground.

Iona is also doing Qabalistic collaborations with magical and perfumery mentor Lady Sarah Cunningham-Carter. They are looking at putting the flesh on the bones of many of Lady Sarah's fine original research works, which come from her long associations with such notables in the field as Ann Davies, Hans Holzer, and Dr. Israel Regardie. Lady Sarah had a magical temple in Hollywood and Pasadena in the 50s and 60s and continues her fantastic artwork in the beautiful hills of Southern Oregon. She became personal secretary at 18 to Peruvian diva songstress and classic filmstar, Yma Sumac. She continues to foster Yma's health and welfare while assuring the preservation of her body of work, and helping produce a documentary film on this Inca Princess and living legend.

Recent writings by Iona also include a variety of pieces on Future Science and global architectronics for Nexus Magazine ( and on bioholography for The Journal of Non-Local and Remote Mental Interaction ( Iona is on the editorial board of JNLRMI.

She also wrote a submission for Journal for the Academic Study of Magic on "The Dodecahedral Universe and Qabalah"; her annual journal CHAOSOPHY 2003 centered on the theme of "The Emergent Healing Paradigm"; CHAOSOPHY 2004 is on "Future Science." CHAOSOPHY 2005 has "The Nonlocal Mind Paradigm" as its theme.

New Articles include [inquire directly for .doc files]
SIREN SONG OF THE EARTH for Nexus with Ben Lonetree;
GOOD VIBRATIONS on Microvibrations & Micropulsations:
· FREE STYLE: Art Without Frames, Science Without Boundaries (posting soon).
· THE NONLOCAL MIND PARADIGM: A Transdisciplinary Revisioning of MindBody
· THE WHOLE SUM INFINITY: Merging Science-Art and Integrative Biophysics
· THE DEMIURGIC FIELD: Its Patterning Role in Chaos, Creation and Creativity with Australian Economist, Dr. Paul Wildman, Ph.D.
· IMAGE STREAMING: A Soulful Exploration of the Creative Mindfield
· PROFILING: Psychological Types & Temperaments; Understanding Differences in People
· WHAT THE BLEEP DO WE KNOW ABOUT DATING? Quantum Theories of Relationship
· THE VENUS BUTTERFLY EFFECT: Sexual Healing and Culture

* * *

In 2003, Iona wrote an acclaimed Artists' Statement (, "Neuro-tica: Forbidden Fruits & Technoshamanism", for the Cyberotica art show with film-maker and animator Bob Judd of Arizona (;
a book review for Brunner-Routledge on Bradford Keeney's work (American Shaman: An Odyssey of Global Healing Traditions);
a political essay, "Apocalypse Soon: Economic Collapse in 2006", inspired by the work of Michael Wells Mandeville.
She began a new book-in-progress, Voluptas: Echoes of Sacred Sex in Alternative Sexuality;
and a mythopoetic review of 'No-Wave' beat poet and priestess, Lydia Lunch's latest spoken word CD "Memories and Madness", titled "Beyond the Pale", for underground zine Night Moves.

Art projects have included an interactive multimedia installation, with Bob Judd, shown at pioneering digital artist ( Laurence Gartel's CYBEROTICA: THE DIGITAL ART EXPERIENCE, Dec 4-7, 2003 in downtown Miami, Florida and reprised at The Icehouse Gallery in Phoenix, Arizona February 6, 2004. Judd has also animated some of her paintings and other art, viewable at

Using herself as model for a variety of characters, she has also created online digital "performance art" and begun merging her own collection of images ("Digital Diva") with her collages and paintings (see Netzach Gallery VII).
She also continues working with musicians, animators, and qabalists on the design of an experiential 3-D immersive role-playing game based on Pathworking, VIRTUAL QABALA.

Collaborations, besides art with Bob Judd, include work in ELF electromagnetic frequencies and human physiology with Ben Lonetree (;
neurotheology, remote healing, and streamed wellness information delivery with neuropsychiatrist Dr. Marshall Gilula (;
and putting heart back into the healthcare system with A Quantum Reach, working with chiropractor Charlotte Anthonisen (
and Carolyn Dean (see Death By Medicine online at Nexus and Dean's site).

She also continues collaborating with ex-husband Richard Alan Miller ( on a variety of books including Pantheon: Archetypal Patterns in Nature and Man; ESP Induction through Self-Hypnosis; As Above; So Below: the Nexus of Spirit and Future Science; Technoshamanism and Extrasensory Science; Quantum Metaphysics; Electro-Magic and Neuroshamanism; Psience: Extraordinary Powers of the Mind ; and Let's Do the Mind-Warp Again: An Anthology of Postmodern Cultural Engineering.

* * *


Please note a change in the URL for the John Curtis Gowan Memorial site of his collected works to Contains his classic works on states of consciousness such as Trance, Art and Creativity, Development of the Psychedelic Individual, Operations of Increasing Order, and Northridge Developmental Scale for testing Self-Actualization.

CHAOSOPHY 2005: Nonlocal Mind Paradigm:

GOOD VIBRATIONS: Microvibrations & Micropulsations
BIOPHONS: We Are Temples of Living Light
· FREE STYLE: Art Without Frames, Science Without Boundaries (posting soon).
· THE NONLOCAL MIND PARADIGM: A Transdisciplinary Revisioning of MindBody
· THE WHOLE SUM INFINITY: Merging Spirituality and Integrative Biophysics
· THE DEMIURGIC FIELD: Its Patterning Role in Chaos, Creation and Creativity with Dr. Paul Wildman, Ph.D.
· IMAGE STREAMING: A Soulful Exploration of the Creative Mindfield
· PROFILING: Psychological Types & Temperaments; Understanding Differences in People
· WHAT THE BLEEP DO WE KNOW ABOUT DATING? Quantum Theories of Relationship

CHAOSOPHY 2004: Future Science

"The Universe Is Obsolete: A Gallery of Multiverse Theories," on parallel universes

"How the Brain Creates God: the Emerging Science of Neurotheology"

"Fear and Loathing In the Temporal Lobes: Epilepsy and Spirituality" - [awaiting publication]

"Schumann's Resonances and Human Psychobiology" or SRI
also linked from the popular Jeff Rense "Sightings" site under "Headlines" version)

"HAARP's Threat to the Voice of the Planet" or SRII version)

"From Helix to Hologram" on DNA bioholograms

"Quantum Bioholography"; (longer version of above)

"New Millennium Psi Research: ESP, Hypnosis and Remote Viewing"

"The Dodecahedral Universe and the Qabalistic Tree of Life" - [awaiting publication before posting]

"Apocalypse Soon: Economic Collapse in 2006"- [awaiting publication before posting]

"Parapsychology: I Married the Wizard of Oz"

The Modern Alchemist Excerpts


under construction at
"The Emergent Healing Paradigm: Progressive Medicine and Healing Arts in the 21st Century"
"Embodying the Emergent Healing Paradigm: Psi Mediated Exchange of Information"
"Disrupted Lives: Chaos Theory and the Healing Process: Role and Value of Journey Work in the Process of Recovery"

"NEURO-TICA: Forbidden Fruits and Technoshamanism"

"LUNCH: Beyond the Pale" -


IO's ART links:

CYBEROTICA GALLERY invitational promos

DIGITAL DIVA GALLERY invitational; artist's discretion

NETZACH GALLERY I: Metaphorms & Mythical Realities (Io paintings)

NETZACH GALLERY II: Sacred Geometries (Io paintings)

'PSYCHOGENESIS' GALLERIES gallery) gallery with text)

Books Prospectus List, 2004

Unposted titles or material can be requested for review from Ms. Miller directly at or

Meanwhile, the Grail Quest continues...


Find these articles here, sequentially:







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Random Order Revisited: Collage Jumps the Canvas to Multimedia Art The Multimedia Art of Iona Miller

By Iona Miller, 5/2004

"Let us imagine the anima mundi neither above the world encircling it as a divine and remote emanation of spirit, a world of powers, archetypes, and principles transcendent to things, nor within the material world as its unifying panpsychic life-principle. Rather let us imagine the anima mundi as that particular soul-spark, the seminal image, which offers itself through each thing in its visible form. Then anima mundi indicates the animated possibilities presented by each event, as it is, its sensuous presentation as face bespeaking its interior image--in short, its availability to imagination, its presence as a psychic reality. Not only animals and plants ensouled as in the Romantic vision, but soul is given with each thing; God-given things of nature and man-made things of the street." ~ James Hillman

Robert Rauschenberg originally legitimized collage as a valid artform with his curatorial manifestos, The Art of Assemblage (1961) and Random Order (1963). He revisioned many presuppositions about art and older notions of the avant-garde in his own non-nihilistic oppositional strain. In fact, his notion of “random order” prophetically prefigures the scientific discovery of Chaos Theory by decades.

At his most ambitious, Rauschenberg hoped technology would allow him to create a machine to integrate spectators into its functioning, reactions setting it in motion transforming the participants. This is multimedia interactivity, with feedback and feedforward loops. He wanted to educate the predictable public to risk, including in the realm of sexuality. He wanted to reflect and modify the desires of the viewer.

Many of the goals of today’s multimedia “Know-Brow” artists are similar, aiming at embodied experience and pushing those insights further as CG images become more compelling. The larger question remains, “What does it mean to be human?” American film and video critic Gene Youngblood once wrote that “all art is experimental, or it isn’t art.” Innovation brings radically new frames of reference or discards frames entirely.

“Indeed the new materials artists use today have radically transformed art, and our globally-linked planet has brought the plurality of artistic forms, the diversity of styles, the ways in which statements about art can be formed and framed to the surface. Within this we find that the wide array of technical practices, this virtual reality theatre being one example, now make it easy to see that technology has had a tremendous impact on how we engage with art, how we engage with the question of what art is, and how we view the many ways artists exploit technology in our time.“New tools, of course, have always resulted in new forms and, in the largest sense, we can say that technological innovations add imaginative possibilities to the artistic toolbox. When we place the results into a mix that includes social, cultural, political, and scientific contributions we find the enlarged vantage points new technologies offer are even more intriguing. “Perhaps as striking as the number of ways in which artists use technology is that forms of experimentation, like artistic goals, vary widely today. Given this it is not surprising that, sometimes, technologically informed work simply excites our senses and, at other times, even an educated viewer may wonder how best to address a work he or she simply does not understand. There is also the challenge of engaging with work that invites us to be participants rather than passive spectators. And, of course, work presented in more traditional ways, so to speak, continues to raise traditional questions about what art is. “One might ask: Is it the visceral quality of a work that excites us or will we more fully experience an artist’s intention if we read the work as a text and interpret the levels of meaning embedded in the project? Then, again, perhaps an interpretation based on ferreting out meaning compromises key elements that might be optically-centered or intended to emotionally-charge our experience?” ~Amy Ione, 2000,

Philosophically defined concepts such as ideology, aesthetics, meaning, emotion, embodied or situated cognition, complexity, anticipation, inspiration, signification, psychophysical coordination, emergentism, depiction, focal-point conflict, and other elusive models fit into the well-honed categories, bracketing themes such as picture organization and gestalt, metaphor, interpretation, subjectivity, enculturation, neural processing, language and history.

They depend crucially on our psychophysical constraints (compensation, accentuation, contrast, occlusion, dissonance, blur, grain, codes, projection, distortion, denotation, etc.) and enabling of our sensorimotor apparatus. They also depend on the ecological and sociocultural environment in which our apprehending and productive capacities come into being. Rhythm perception and production involve a complex, whole-body experience.

The avant-garde attempted to break down the false division between “art” and “life.” This medium has morphed again, and the message of the art and science of depiction morphs with it. The generative approach is multidisciplinary. Insightful connections and correlaries are described, not truths or explanations. Collage, montage, and assemblage have gone digital -- jumped the juxtaposed canvas into graffiti, into digital fine art, into art music as sampling and into animation, which draws from the entirety of art history stringing together its pastiche.

Early digital films of the 1990’s such as “The Mind’s Eye,” “Beyond the Mind’s Eye,” and “The Gate,” are good examples of the later. Some of these vignettes draw explicitely from art history, using works of Picasso, allusions to Dali, Magritte, etc. They also draw on the genre of science-art. Their immediate predecesors were computer-generated dynamics, such as “Fractal Fantasy”, and a host of other mathematically driven animations like “Voyage To the Planets”.

Multimedia with its efficiency of rendering takes us beyond the aesthetic block of static art that hangs on the wall and becomes p(art) of our lives. Home studios and user-friendly programs and interfaces now allow individual digital fine artists, such as Laurence Gartel and filmmaker Bob Judd, to produce their own audio-visual visions on DVD. Trial and error process focus the artist’s eye on the current state of he image and his/her reactions to it. Trained image makers know what they need and choose the relevant tool.

Art history language is translative and descriptive, not generative. Validity has standards, but they become outmoded periodically, and must be revisioned to prefigure inevitable transformations. The aesthetics of juxtaposition is fundamental; it is a primary modality of simultaneous display that can either 1) temporarily shock, negate, or scandalize, (cultural value); or 2) lead toward lasting aesthetic and symbolic tensions (aesthetic and psychological value).

Juxtaposition can shock, surprise or inform. However, once the shock circuit [artifact of the DaDa era] is closed, the effect will not repeat again in the same individual. There is a world of difference between threat and shock or lasting aesthetic effect. Primary tropes tend to characterize the creations of those who work in this assemblage modality, revealing their mental shorthand, their private symbolic and iconographic lexicons.

The second form ignites the potential of disparate elements in a new ‘force field.’ It becomes a ‘strange attractor’ around which our eye and consciousness can circulate and recirculate. This is one form of the iconography of high art, Rauschenberg effectively argued. His was a challenging balance between aesthetic signification and spectatorial reception.

Collage can seem random or purposeful, assembling symbols or elements that “want to live with one another.” Some artists just ‘know’ what wants to live together, what is aesthetically pleasing and psychologically congruent or challenging, what juxtaposition still has something to say beyond simple pattern saturation. Minimalism, or classical juxtapositions of opposites, is too sparse for such rich, complex vision.

Rauschenberg continually rejected an aesthetic of nihilism, shock and negation through his whole career preferring complete esthetic freedom, eschewing art and historical battles already waged by predecesors. His works changed focus, evoked multiplicity, and multiple perspectives. He preferred the unresolved.

Neo-dada attitudes of the pre- and post WWII era have carried over into post Postmodern underground art with multimedia performance artists, who are socially disengaged or culturally and politically frustrated. Even this seemingly negative response to pain seeks to engage with “process” and “life” which is not separate from “art.” But, by definition, much of this “art”, often identified with the Fluxus movement, is not lasting, frequently consisting of artifacts or ephemera.

These edge and extreme artists are idiosyncratic and narcissistic, but generally not socially toxic, anarchistic or apolitical – but quite political and often spiritual in their statements, rhetoric, and performances. They have broken free of the museum and the artworld and found their own validation. But provocation can’t last indefinitely.

The history of the avant garde is discontinuous, turbulent, nonlinear – chaotic, just like its art. All of its metaphors strongly suggest the randomly punctuated rhythms of Chaos Theory. Its reference points reinforce this description, reiterating complex feedback loops, strange attractors, and producing big effects [such as radical cultural and political effects] from minor perturbations.

Iona Miller’s Psychogenesis: Updates: In the 1990’s, Iona Miller created 400 posters, 24 x 36, from the most prevalent form of trash available – discarded magazines, the base of the garbage pyramid. While they are commonly used, she found a unique means of doing so. Of course, the strongest constraint of this medium is availability, listening to one’s inner voice on where to go when to find the raw materials. If you listen closely enough, knowing what to save and discard, they call to you.

Miller recycled this ‘found’ imagery into a series of self-therapeutic works, which she later discovered contained a virtual encyclopedia of psychological archetypes, the “strange attractors” of the psyche. She compiled the more symbolic, rather than merely aesthetic, of these process art works in Psychogenesis: A Journey through Inner Realms of Wonder and Imagination via Modern Iconography and Recycled Imagery, at the turn of the Millennium.

The avant garde alleged the praxis of life is to be renewed and renewal was the unrelated therapeutic purpose of this project. But this ‘art’ was uncontrived, naïve, claiming no commercial purpose or drive. It has nothing to do with the institutionalization of art nor discursive rules, nor social criticism, nor overarching historical frameworks.

Nor is it expressing the avant garde strategy of using shocking assault on the division of art and life. It had to do with getting what was inside out. It is life in motion and its strategy is to take the commonest most discarded thing, appropriate it and activate its healing talismanic potential, turn lead into gold, giving it a new potency beyond the transgressive power – a force that comes from the emergent power of the one true thing.

These works reappropriate the ordinary, the mundane and recontextualize it within a meaningful whole of which the viewer is an integral part. It is motivated by the urge to connect with the life stream, the flow of psychophysical energy or libido that animates us. It is driven by jealousy of time to fulfill its expressive goal before death finds another unreleasable hostage, for even as I am writing this I hear about the sudden death of a friend of 25 years. Now, I have gone digital and begun merging myself in this series, particularizing the images even further.

The Psychogenesis preface begins:

“Welcome to my world--a world ensouled and enlivened by imagery. A world of the seemingly familiar, yet peculiarly mysterious…the vast landscape of consciousness, fluid temporal movement, the undivided flux of creation. Many people have allowed me to tap into their dreams, their inner streams of realities, their nether realms. I conclude that our local existence is nested in a vast collective domain, abode of symbols, guiding archetypes, and myths. We contain and are contained by Universe, and we are not different from that. This eternal world outside spacetime is the contact point for sacred time and space, the container for that which never was but is always happening. Since its source is complex, its coding is intense. Archetypal images enfold multiple meanings, modes, potentials, dimensions. The human psyche is inherently polytheistic, polymorphous, continually in motion.We are experiencing not just the revival of ancient images, but also the harvest of all the world's cultures, belief systems, ways of knowing, seeing, doing, being. Gradually we discover that these stories are our own stories, that they drive the amplified rhythms of our own lives, depending on and enhancing us, filling us with a sense of the fractal resonance of the mythic life within our own.In our modern culture every image, mundane or divine, has been used and abused. In the Postmodern Era there is no new iconography. In imagery and art, there is nothing new under the Sun. Everything, which can be used from religion, myth and symbolism, has been used and can only be recycled -- recycled like these collaged images from the trash-heap of society. The material for these images was literally someone's garbage. My task was therefore, as usual whether doing art or therapy, trying to turn alchemical lead into gold."

Here, in this animated world, images are lovingly juxtaposed with their complements and contrasts in naturally corresponding clusters of symbolism. They share the same metaphysical essence. Some images just want to "live together." Symbols held in the subtle net of a visual field become particularized imagery – they become personal, unique. The familiar is combined with the mysterious, reflecting a singular surrealistic vision. It embodies a truth rather than providing meaning.

The familiar becomes unfamiliar or “unknown” once again in the juxtaposed context. It helps us confront mystery, to stand in the Mystery. Reflectaphors, or reflective metaphors, repeat themselves in each image or poster, as well as jump from image to image--i.e., they echo themes among the various pieces as the series unfolds itself in self-similar fashion, like the iterations and reiterations of fractals.

Anima Mundi

So, Anima Mundi bids you welcome and acts as our tour-guide or hostess. She coaxes us deeper into the labyrinth of desire and fulfillment, where each of us finds our own resonance, the imagery, which speaks the loudest or clearest, or beguiles with the mere whisper. To experience psychic reality means to be in soul, in the realm of the imagination, as if interacting with its inhabitants and locales. Inner visionary experience, be it wrathful or beatific, is an expression of soul. Through images the unconscious affects our worldview, health and relationships. Imagination not only conditions our reality – it is our reality. Soul is the middle world between gross materiality and the spiritual world.

Matter, spirit, and ego fight over the soul. Yet soul is a primary experience, virtually our only way of being. Each wants its unique fantasy to reign uppermost. So, the first task is to distinguish soul from spirit, so the body may unite with and be enlivened by both.

This is a psychological approach to art and life--giving voice to soul, living life as art. It means the return of a subjective feminine eye on reality. It means the enlivening of our bodies and the world of nature with imagination. When we see soul as the background of all phenomena, we become aware of the animating principle and develop a relationship with Her.

All images arise either from body processes (instinct) or psychic forms (spirit). Whether instinct-controlled or spirit-controlled, images are related to physiological processes. They appear psychologically as images, but work physiologically. They produce emotional or visceral manifestations, but not in any causal way. The images don't produce reactions. The image is the entire psychophysical gestalt.

The soul generates images unceasingly. Artists are able to capture and express some of that ceaseless flow. The soul lives on images and metaphor, especially epistemological metaphors--how we know what we know. These images form the basis of our consciousness. All we can know comes through images, through our multi-sensory perceptions. So, this soul always stays close to the body, close to corporeality, to what "matters."

Let the images come into your body. Embrace the image. This is art that is not separate from life.

Imagine Nothing:

Physical reality becomes psychic, and psyche becomes real--it "matters." The difference between soul and external things no longer matters. Inner and outer world are both real and in fact One World.

Image, metaphor and symbol bridge the abyss between matter and spirit. Images are the subtle net that unites symbols. They are integrated with feeling, mind and imagination. We can see soul in all natural objects. We can notice our fantasies constantly conditioning our experience of reality. Knowledge of spirit doesn't come from ideas, even revelations, but through a reflective process.

I began this series of collages shortly after the death of both of my parents three days apart from one another. Though I painted years earlier, I am not a trained artist, but a clinical hypnotherapist with a strong Jungian background in symbolism. Realizing I could use this for processing my own pain and grief, I began them as Art Therapy. I had originally made a few as examples of process work for my students in a college class I taught, called "An Introduction to Depth Psychology."

I found in my therapy practice a tendency for clients to present certain recurrent motifs, such as black holes, "blacker than black," tunnels, images of chaotic breakdown, etc. Prior, I had been writing a book called Dreamhealing, about Asklepian dream healing, a technique developed around the metaphors of the then-new science of Chaos Theory which is now known as Complexity. In this deepening process, the client becomes each element the imagination presents in turn. Immersed in this process imagery, I sought to create some visual images, which might intimate this experiential material.

So, my posters are gestalts—waking dreams, where all elements are co-temporaneous, existing in time holographically--presented together even though they image a dynamic process. Each of them constitutes a shamanic dream journey--a full immersion in the inner world. They are postcards from the inner journey, snapshots of milestones along the Way.

None of them are contrived beforehand -- all were emergent experiences of just letting the images work themselves. No theme was determined in advance. The posters themselves dictate some of what must happen on them. In order for them to appear seamless, I had to hide or disguise the seams in various fashions. Yes, sometimes "less is more," but most often more was needed to insure a seamless quality. This was not a project where minimalism could ever prevail.

Part of the burden and joy of working in this medium is using what one has, or can find, what is spontaneously available. Jungian psychology uses the notion of the bricoleur, the craftsman who works with that which is at hand, including self-imposed rules. This includes the psychological situation as well as the materials. My grief work accentuated the death-rebirth motif, which is ubiquitous in therapy in any case.

In their formative stages, the elements were not fixed on the canvas, and sometimes due to electrostatics, heat, and gravity "things moved of their own accord." Almost invariably, this was an improvement over any intuitive or deliberate placement I might have made. So, it was a process of flowing with the animating process, rather than dictating the process.

Later, they organized themselves into larger groups. There were obvious thematic connections for some of them, but others were not so obvious until there were hundreds of them. Their order has no relationship to the time of assembly. I have never re-sorted them, but for some reason the over-all story of the text for each leads seamlessly into the next, providing a narrative stream. The text for each piece suggested itself long after completion through a recognition process, or sometimes immediately by synchronicity. They assembled themselves and with one another by a process I can only describe as "synarchy."

The awesome pandaemonium of imagery flowed forth spontaneously and my ego could not fight its way free. Rather, I had to surrender to the forces that often crossed my subjective will. I was a slave to the process for some time, producing several pieces a week for long periods of time, and sometimes even doing more than one per day.

The mystery images are a compelling source of transformation and healing, and it worked! The physician healed herself, or rather opened to the inner healer and let time take care of the rest.

[The Psychogenesis poster originals are 24 x 36, and are assembled completely by hand. No computer enhancement has been used on any of them, except as I have later done (2000--) combining them with my Digital Diva “Faux-tos”. All were done between 1994 and 1999.]

The Tell Tale Art

What a picture or dynamic multisensory image means to the viewer is strongly dependent on past experience and knowledge. In this respect the visual image is not only a representation of “reality” but also a symbolic system. Language distinguishes between the functions of expression, arousal and description, or symptom, sign, and symbol. It is important to distinguish the expression of an emotion from its arousal, the symptom from the signal, especially in the “communication” of feeling.

Communications may be symptomatic of emotive states or they may function as signals to release certain reactions. Human language and art has developed the descriptive function to inform others of a particular state of affairs past, present, or future, observable or distant, actual or conditional, visionary or imaginal.

The visual image is supreme in its capacity for arousal, while its use for expressive purposes is problematic, and unaided it may require a matching statement for clarity or illumination to convey the creator’s intent or experience. Art can fail to communicate its message because the viewer lacks the experience or context or code to “get it,” as the artist saw or intended it.

We are “programmed” to respond to certain visual signals; but this arousal function of sights is not confined to definite images. Configurations of lines and colors have the potential to influence our emotions. What is usually described as communication is concerned with matter rather than with mood. Like verbal messages, images are vulnerable to the random interference engineers call “noise.” They use the device of redundancy to overcome this hazard. In art, this redundancy of imagery and themes creates the “style” of the artists and the body of work reflects the issues and concerns to be communicated. The chance of a correct reading of the image is governed by three variables: the code, the caption, and the context. Jointly the media of word and image increase the probability of a correct reconstruction or effect on the beholder. The mutual support of language and image facilitates memorizing or memorability.

The use of two independent channels guarantees easier reconstruction in the mind’s eye. The image works in conjunction with other factors to convey a clear-cut message that can be translated into words. But the real value of imagery is its capacity to convey information that cannot be coded in any other way, frequently through the use of allusion or metaphors of known objects or entities.

The information extracted from an image (in particular, an archetypal image) can be quite independent of the intentions of its maker. However faithful an image or reproduction conveys visual information, the process of selection always reveals the maker’s interpretation of what he considers relevant.

The “TELLTALE PICTURE” requires that interpretation on the part of the image-maker must always be matched by the interpretation of the viewer. It is only when we are confronted with a totally unfamiliar kind of structure that we are aware of the puzzle element in any representation.

The easier it is to separate the code from the content, the more we can rely on the image to communicate a particular kind of information. A selective code that is understood to be a code enables the maker of the image to filter our certain kinds of information and to encode only those feature that are of interest to the recipient. Such renderings are transitions from a representation to diagrammatic mapping and the value of the later process for the communication of information needs no emphasis. What is characteristic of the map is the addition of a key to the standardized code. It is only a small step from the abstraction of the map to a chart or diagram showing relations that are originally not visual but temporal or logical. A network of logical dependencies (images held in the network of a piece), the diagram will always spread out before our eyes what a verbal description could only present in a string of statements.

The image is non-linear. Reading an image like the reception of any other message, is dependent on prior knowledge of possibilities, we can only recognize what we know, consciously or a priori from the unconscious. Mysticism and alchemy have often employed imagery or visual symbols to appeal to seekers after revelations. To such seekers the symbol is felt to both convey and conceal more than the medium of rational discourse.

One of the reasons for this persistent feeling is the diagrammatic aspect of the symbol, its ability to convey relations more quickly and more effectively than a string of words. A symbol can become the focus of meditation. If familiarity breeds contempt, unfamiliarity breeds awe. A strange symbol suggests a hidden mystery, and if its known to be ancient, it is felt to embody some esoteric lore too sacred to be revealed to the multitudes.

Art is not produced merely for aesthetic effects. It is the arousal function that determines the use of the medium. The cult image and its shrine mobilize the emotions that belong to the prototype. The power of such images is stronger than any rational consideration.

There are few who can escape the spell of a great cult image in its setting. The mnemonic power of the image means the power of symbolism to transform a metaphor into a memorable image through vivid portrayal. Allegorical images turn an abstract thought into a picture, a poetic evocation of feelings.

There is a contrast between the prose and the poetry of image-making. The Romantic concept of genius stressed the function of art, as self-expression, but the expressive symptoms of emotions are to be distinguished in the theory of communication from the dimension of arousal or description.

The Creative Process

"The science of art sounds like an oxymoron because art is about individual human experience, creating originality. Science seems to be dealing with universal principles - the opposite," he says. "But I believe the brain has evolved principles that allow you to deal efficiently with the visual world. They allow you to capture objects, identify objects and mate with objects." ~ V. Ramachandran

Innovation in either the sciences or arts occurs only when a single mind perceives in disorder a deep new unity. Science is an attempt to control our surroundings by entering into them and understanding them from inside, and in a subjective reality, so is art and mysticism. Both employ the processes of discovery, invention and creation. A contemplative civilization values mystic immersion in nature and the immanent emptiness within all nature (the ground state), the union with what already exists.

Art is a personal, though often anonymous creation. And scientific discovery may be as well. It has been suggested by Lazslo (1994, The “Genius Hypothesis”: Exploratory Concepts for a Scientific Understanding of Unusual Creativity) that genius is the result of collective conscious and unconscious forces impacting an individual:

“Unusual acts of artistic and scientific creativity — associated in the popular mind with the concept of "genius" — do not have a satisfactory explanation in terms of the cerebral or mental processes of individuals. The 'genius hypothesis' suggests that such acts of creativity involve an interaction between the mind of the creative individual and other minds, bent on similar creative endeavors. The interaction envisaged in the hypothesis relies on the spontaneous transmission of the crucial Einfall that catalyzes the creative acts. Following the presentation of pertinent evidence culled from the fields of cultural development, scientific discovery and artistic production, the mechanism of transference is illustrated with the analogy of networked computers. It is also shown to shed light on what Jung called 'archetypal experience.' The phenomenon of instantaneous spatiotemporal connectivity is not limited to human brain-minds but has counterparts in quantum physics and evolutionary biology. Its explanation poses one of the greatest challenges to the contemporary natural sciences.” (Lazslo)

Both science and art seek to find the design of nature in her detail. It requires inductive thinking followed into the detail of nature, and our nature to develop visionary insight. Theories are imaginative choices, which often outstrip the given facts; the same might be said for the manifestos of various art movements which are self-defining. They are not based on logical deduction, but on induction.

Induction images more than there is ground for and creates relations, which at bottom can never be verified. Every induction is a speculation and it guesses at a unity which facts we know suggest. Every innovator has a particular way of looking at and arranging the facts, guided by a sense of aesthetic unity and beauty. Science shows us that nature has a unity, and this unity makes her laws seem beautiful in their simplicity. Our demand that nature be lawful is a demand for unity. We seek it instinctively. We become creative, whether as artistes, scientists or mystics, when we find a new unity in the variety of nature, a likeness between things (symbols or images) that were not thought alike before, and this yields a sense of richness and of understanding. The creative mind looks for unexpected likenesses, new analogies, and engages the whole personality.

Laws of Art?

Even if 90 per cent of art is culturally driven, 10 per cent may be driven by universal laws linked to the way the brain has evolved to process vision, according to Vilayanur Ramachandran, professor of neuroscience and psychology at the University of California, San Diego, author of The Emerging Mind and one of the world's leading neuroscientists.

"The science of art sounds like an oxymoron because art is about individual human experience, creating originality. Science seems to be dealing with universal principles - the opposite," he says. "But I believe the brain has evolved principles that allow you to deal efficiently with the visual world. They allow you to capture objects, identify objects and mate with objects."

The eight laws of artistic experience
1. The ‘peak shift principle’ makes exaggerated elements attractive
2. Isolating a single cue helps to focus attention
3. Perceptual grouping makes objects stand out from background
4. Contrast is reinforcing
5. Perceptual ‘problem solving’ is also reinforcing
6. Unique vantage points are suspect
7. Visual ‘puns’ or metaphors enhance art
8. Symmetry is attractive

The starting point for Ramachandran is the fact that the brain actively processes and interprets visual signals. "The eyes are not cameras. They don't take an image, send it down the cable and get it displayed on a screen in the brain. Clearly the image is encoded in the form of nerve impulses.”

"It's a symbolic description in the brain, the analogy of which would be a piece of paper on which you write something about your house. The squiggles of ink bear no resemblance to your house but a person can decode the letters and conjure up an image of your house. "The brain is using a similar code, which is where art comes in. Humans have art because the brain actively must process the signals coming from the retina."

Artists manipulate, distort and exaggerate images to optimally titillate the 30 areas of the brain dealing with vision.

Art and science may likewise bridge the conflict between paradoxical analogies, between poetic metaphors, and enrich our understanding of the world without completing it. The images we create depend on our factual grasp of the relation between the symbols in the image. Power is contained in conjoining minute particulars, which denote the change of scale between the metaphor and its application. This is the value of originality.

We expect artists and scientist to be forward-looking; to fly in the face of what is established, to create new paradigms, not what is acceptable, but what will become accepted. Like art, science is preoccupied less with facts than with relations, less with numbers than with arrangement.

New vision is the continuing search for structure. A theory is the creation of unity in what is diverse by the discovery of unexpected likenesses. In all of them innovation is pictured as an act of imagination, a seeing of what others have not yet seen. It is indeed, a creative observation of outer or inner worlds: "The Tell-tale Art."

"Art practice and appreciation are generally considered products of human culture, rather than areas for scientific investigation. Yet, perhaps because art that is quintessentially exquisite speaks so deeply to us, it is difficult to see human culture as a map for one’s individual experience with art. No doubt this explains why analyses of art have traditionally been closely tied to aesthetic theories, formal analysis, and philosophical discourse. These kinds of investigations, however, tend to evaluate works of art in and of themselves and offer a stark contrast to the views of many who research and practice art. Ideas, aesthetics, and formal qualities, while easily fit into the scientific quest for universals, often lose sight of the dynamism, complexity, and richness of art. Moreover, as the literature shows, in recent decades art historians and artists have increasingly challenged the legitimacy of the aesthetic/formal agenda. Instead, the field has expanded to include a closer examination of complex social, economic, religious, and political influences. This art discourse, while addressing some of the limitations of the aesthetic/philosophical framework, often diffuses the cognitive contributions that accompany art practice and art appreciation. Now, with the explosion of brain research on cognition, perception, and sensation it seems a third approach is emerging. Scientists/philosophers/psychologists are beginning to explore the nature of art in ways that include neurobiological and neuropsychological questions. What is exemplary within this is the way researchers of the brain have begun to open a door for all of us to re-think our ideas about art." ~Amy Ione, 2002



by Iona Miller
“Know Brow” Technoshamanism

‘Know Brow’ art is the product of new media – ars electronica -- that transcends the dichotomies of high and low brow. More than “consumable” commercial media, it is digital art that stands the test of time.

Know Brow implies the knowledge, attitudes and skill sets necessary to produce art with highly technical processes, but also the visionary capacity to see multiple layers of meaning through direct experience. This knowing uses “knoware” for its discovery process, a seeking, a gnosis that cuts a path through the mindscape of the ‘now’ toward the future that remains perpetually undefined. The future “pulls” these artists forward.

We commune with the past to inform our present, not just as a homage, but to gain initiation to that transtemporal way of knowing and honoring our cultural roots. For example, in his latest series (2004), “Slashers: A Cultural Commentary on Today's Political and Economic Climate”, , Gartel created a suite of techno-portraits (with complementary audio voices), which in retrospect reminded him of the slashed canvases of Lucio Fontana. They let us see the chaos that lies below the surface of the persona. But this work is not about the past. The content is strongly reflective of the present, the NOW:

“The first question anyone asks an artist about his/her work is: Where did the inspiration come from? Where did the ideas emanate from? So in looking at the overall series, one might inquire: "What happened to you?" (Hahaha.....) Nothing really...but I believe that an artist's work, if he/she is in tune with the world, or is sensitive to people's current emotions, depicts the state of affairs that is currently taking place. It is not for nothing that Andy Warhol depicted Jackie Kennedy or Marilyn Monroe, or the Watts Riots. It is the same as Otto Dix painting the horrors of both World Wars and just as valid as Bruegel's depiction of peasant life during the Renaissance. Truth is, every artist of any great measure says in his own personal style what is taking place in society.

Alas, what IS going on in the world right now? History will look back and see this series and look at our culture, asking what is going on? - A cyber world for one, where people are one face over the internet, and another face in reality. It can also be two faces in reality as well. America's President George Bush saying one thing, but things happening behind the scenes. Are we not slashing faces in reality, invading a country and tearing apart their culture? What is fact and what is real? "SLASHERS" illustrates the answer of people that have been lied to. So the psychology here is NOT what is going on with me the artist personally, but reactionary, to what is taking place in the world. This is first and foremost. The art is an emotional out pouring of false images, facades, and sense of isolationism. Like a normal "GARTEL" work, it is filled with interaction with so many puzzle pieces, like all my collages, talking and communicating to one another. Here in "SLASHERS" the subject is completely alone. Beckoning for reply. Talking outward. It is indeed a sad state of affairs, that we live in a time when there is no sense of fellow mankind support and comfort. We needed a tragedy for people to ban together. Almost three years later since 9/11, the reverse has taken place. There is no sense of community but only of solitude.”(Gartel)

Looking at the art, there is pathos. All that might have been beautiful is now torn apart, in a post war view of devastation. Each face could represent a country, a city, a community, an individual. Once magnificent, now disfigured and taking on a new persona. Beauty and ugly, but the look of desperation and desire. Living in the region of flora and fauna, and perhaps the unofficial "Riviera of America," no one would ever feel the penetration of this pain. All appears to be beautiful, elegant and pristine. High-rise buildings with marble lobbies, oak wood appointments, and magnificent furnishings cloud our view of what's behind the door to the rest of the world. The opulence of wealth is abundant in the area I am surrounded by. "SLASHERS" would be considered an "amusement" for no other reason. To the rest of the world, it is a flag raised, in the form of understanding the human condition outside this lovely peninsula called Florida.”(Gartel)

Defining the ‘hidden curriculum’ in media schools makes a strong statement about the missing element of art history in technical art education, and the silent blocks in the system to its fulfillment. More traditional institutions have been remiss in honoring the rightful place of digital fine art as the wave of the future.

‘Know brow’ art, as a movement, encourages the active, constructivist acquisition of artistic knowledge and openness to new forms and media, as well as technical capacities. We want to inspire more than digital “factory workers” or proficient craftspeople.

We want to enable the student to make, shape or organize with a telos, a meaningful purpose that has deep psychic rootedness: one who invents, not adopts; who shapes not copys; who builds not assembles; who is capable not merely competent; who is efficacious not just efficient; who experiments not just conceptualizes. There is a bliss that comes from within one that energizes the human desire to enact, to enable, to engage, to outwork it, i.e. to transform oneself and the world (bizarre and grandiose as this may sound).

Art is a discipline of consciousness, whose ecology is to recycle itself.

The Postmodern era ushered in a hodge-podge of styles harking back to bygone eras. Postmodernism began in the 1970's, when the dominant styles of art - Minimalism and Conceptualism - seemed to no longer fit in a world struggling with a myriad of social problems. As a result, a plurality of styles developed. Some Post-modernists forcefully expressed a desire to do away with art that seemed to have no meaningful content, and began to turn back to figurative art and the establishment of meaning.

Other Post-modernists attempted to extend modern art in new ways by appropriating earlier styles, which they modified. Due to the sheer variety of sources and styles it is difficult to categorize Post-modern artists with the same ease of earlier styles or movements. The post Postmodern era saw the development of new media, such as digital fine art, digitally modified photography, digital animation, multimedia, holography, computer generated imagery (CGI), interactive gaming, even virtual reality, etc., with styles all their own.

Computer enhanced images are produced with a stage of manipulation in digital language using computer software. It can be applied to other media, such as photographs or scans of traditional media, or 3-D objects. This awesome technology is used by photographers, filmmakers, the advertising industry, web designers, graphic designers and increasingly available to fine artists.

Museum quality prints can be made by the enhanced giclee or other processes. (Giclee [zhe-clay]; literally means little squirt in French. It is the latest digital printing technique enabling "print on demand". Originally it was a term used by Iris printers but rapidly became the generic term for top quality digital prints using archival quality inks on heavy weight paper or canvas.)

Suddenly, the entire history of art became fodder for a raw-image-hungry medium that gobbled up, digested, and spat out a pot pourri of historical, fantastic, and futuristic iconography in the digital vernacular. Rapid cut clips are the visual equivalent of ‘sound bites.’ We see the familiar old images – here a Michelangelo reference, a Van Gogh homage, or a Duchamp pun -- but they have become virtually meaningless in the new context…a fractal blur.

There is nothing new under the sun, the saying goes. In art, it means there is rarely anything truly innovative, and that most imagery is a rehash of previous work, in which the statement was perhaps more succinctly embodied. Virtually any work can be considered derivative or deconstructed by its critics. The exceptions are works of genius, milestones in the history of art. They foresee the future, hunting it down in the forest of kaleidoscopic potential creations.

Gauguin said, “There are only two kinds of artists -- revolutionaries and plagiarists.”

Revolutionary work marks a transition in a civilization’s worldview. The CybeRevolution marked such a transition. Arguably, today’s marriage of art and science is embodied in new media: digital and electronic arts. Highly technical media have made new images possible through programs that render images virtually as fast as we can think them up. But it requires a lifelong learning curve that is daunting and unrelenting. It requires we continuously update our skill and knowledge base to realize our creative dreams.

Experimentation with new compositional programs can yield surprising results moving artists into heretofore-unexplored territories in their work. Still, even new media’s novel appearance can echo the iconography, moods and textures of past eras and their styles. It is the same in fashion where looks and eras are recycled deliberately but interpreted in today’s fabrics and cuts. It all depends on how you accessorize it.

Innovation requires more than sampling and restyling. It requires a personal archaeology that means digging up that unique portion of our human depths that wants to come to birth through you…that which comes to be through a conspiracy of necessity and coalescence.

One must commit to the image and let it speak for itself in the now, with little or no thought to the past or future. When one opens to the moment, to the process, a flow emerges. Serendipity and synchronicities require fluidity of imagination, an inner eye for what could be important to incorporate, as well as fluency in technical procedures.

Style emerges as the result of habitually reiterating creative choices and recycling favored elements. The same ideas roll around over and over, evolving into variations on a theme. Some artists stake their career on this rather uncourageous course instead of evolving further. It may be less a desire to maintain commerciality or please their public than simply lack of fresh inspiration. That inspiration can be rekindled by immersion in new exciting fields of imagery, new mindscapes, new places, new media, great art.

Just as our prehistoric ancestors painted their own reflections on the walls of Lascaux – history comes full circle, or as T.S. Elliott wrote in the Four Quartets, "my end is my beginning."

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Ice House Gallery: Wall Text for ‘Pandrogeny’: 1900 words

COMING ATTRACTIONS: Artistic Vitality in Sexually Potent Art

Iona Miller, 4-2004

“New art is always shocking, because you don’t know what you’re looking at. . . It’s about boundaries being permeated and transgressed. It makes people nervous when there aren’t any boundaries.” ~Lisa Phillips, Director, New Museum of Contemporary Art, NYC

“...the number of perverts involved in the field of art is probably much greater than the average for the population in general.... It can be supposed ... that the pervert inclines in some particular manner to the world of art.” ~Janine Chasseguet-Smirgel, Creativity and Perversion, 1985

“With male nudes in full display, pornography a common source material, and explicit imagery the norm in galleries and museums, sex in art has become fun, disturbing, raunchy—even cerebral.” ~Linda Yablonsky, Art News, January 2004

Nakedness and Vulnerability

Many art forms over the centuries have centered around celebrating the body – both male and female, animalistic and spiritualized, and imaginative forms in-between. Like undertows along the shore, deep currents of eroticism have always pervaded the creative edge of the cultural ocean of art. To remain vital, art must stay in contact with the erotic element, the ground of our very psychophysical being. To deny it, is to deny life and the vulnerability of our naked awareness.

Art gives form to the apparitions of our imaginations, and one of the most imaginative is the erotic form, expression of the erotic impulse, or raw libido. Both art and eroticism are forms of the epitome of human life, expressions of insight and deep feeling. Sexuality is one way of inducing ecstatic states that alter perception dramatically. It is simultaneously and paradoxically ordinary yet extraordinary. It embodies the very essence of dramatic tension, a finite act with infinite repercussions. Art is the spearhead of human development, both collective and individual. It was the seminal force and vanguard of cultural advance in Egypt, Greece, Europe, Africa, and Asia; all these cultures produced some extraordinarily erotic art. While the vulgarization of art is considered a sure sign of ethnic decline (Langer), erotic or vulgar art itself appears in all eras heralding new perceptions of our erotic drive, our sexual self-images. Even if perceived as an affront, art values rather than devalues the sexual image.

More than the difference between the naked and the nude, erotic art transgresses the boundaries of outdated eras and mores, including fashionable nudity. All that is erotic is not necessarily pornographic, and what some might call pornographic is often not perceived as lacking artistic merit, even prescience, in following eras. Artists test our social and psychic boundaries, making them more explicit. Sexual art can emulate the psychic and emotional forces at play in arousal, active engagement, and afterglow. Sexual tension has been a perennial theme in art through the ages. What begins as shocking becomes familiar once emotional merger is consummated through suggestive penetration. Art expresses an essentially inward experience. Though for some the distinction between art and porn is not easy, explicit or compelling artistic depiction of the fringes of human sexuality is not the same as perversion or obscenity. It brings images back from the extreme edge of society to the mainstream for consideration at all levels, shamelessly chronicling the unvarnished human condition.

Shock, Shame and Disgust

Art, unlike pornography, contains an essential emotional content. It aims at stimulating the largest sex organ – the mind -- rather than just the genitals. Erotic art is always more than merely aesthetic. The function of the artist has always been to look unflinchingly into the dark heart of humanity and describe the living, breathing processes of human life as frankly as possible. The artist’s mandate is to look at everything.

Erotic art serves the same purpose as all art: objectifying self-knowledge as it springs forth from artistic imagination. Every generation has its own style of feeling, determined by forces including artists who shape that vision. Erotic art’s purpose is more than to shock, to confront, even to transgress. It explores the threshold of sanity and insanity, narrowing the definition of obscenity and expanding the definition of art as a legitimate context for sexual expression.

Each flowering of the arts, each new formulation leads to a cultural advance that signals a new way of feeling. It reeducates our vision beyond hostility to the explicit into mirroring the foresight of the artist’s eye. It transforms the worldly and mundane into a piece of imagination -- an imaginative inward vision.

Total nudity is more than nakedness; it is an imaginative state where barriers between lovers, between artwork and viewer, dissolve in a lingering encounter. Truth stands revealed, unadorned, transparent.

Fertility, Fear and Awe

Cross-cultural and transtemporal visions of sexuality have maintained persistent themes of power, beauty, and spirituality in the grossest and most carnal of human acts. The cultural trinity centers around sex, death and religion. In the Paleolithic era art was visceral shamanic fetishism, talisman creating and ritual drama.

In the Neolithic era, fetish continued as taboo. The first fully modern humans were characterized by art and symbolic thought. Then cult worship of the chubby pudenda of the Great Mother goddesses developed. Her mystery embodied the magical invisible workings of divinity through the sexual organs.

Sexuality had an important place in Egyptian myths, creation tales, and the afterlife that was not ignored in their art, symbolic and explicit. The so-called Turin Erotic Papyrus (O’Connor) demonstrates both reverence and irony in a variety of positions emphasizing the delightful fertility generating energy of the blue lotus.

In the Near Eastern and Greco-Roman pagan worlds, the wildness and soulfulness of the psyche were equally celebrated in the ithyphallic form and availability of the hetaera or sacred prostitutes, along with heroic versions of the human form. Nudity was perhaps the most important contribution of classical Greek art. The repressive early Christian era brought sublimation and transmutation of the instinctual spirit’s yearning for union.

After the near total religious suppression of Eros in the Dark Ages, the Renaissance brought a resurgence of pagan imagery and renewed interest in the vitality of the physical and psychic image. Meanwhile, Asian sexual art explored the spiritual dimension of Lingam and Yoni, jade-warrior and fleshy blossom, while African art maintained its blunt primal vitality. Modern art began a systematic exploration of the distortions and perversions of sexuality, including impressionistic, surrealist, and abstract fetishization. Avant garde breakthroughs and revelations were conceptually daring and novel in both graphic design and ritualistic physical performance art. Now we are jaded by these socially assimilated clichés and neo-tribalism. It is a fact of post Postmodern life that all these currents still flow strongly, endlessly recycling through the depths of our collective psyches depending on where we find ourselves on the sexual evolutionary spectrum.

Power and Helplessness

The artist’s actual medium is the psyches of the public, which are massaged, aroused to curiosity, piqued, fascinated, infatuated, and sometimes emotionally terrorized by this pseudo-intimacy. The artist mounts more than his image: the viewer is intellectually and emotionally ridden at his or her pleasure. Curiously, it is not a substitute for sex, but arguably its very creative evolution. Reflective observation is more than passive voyeurism. One is changed by the experience, seeded within the dark virtuality of the unseen dimension.

Our culture’s preoccupation with sex is undeniable as expressed in advertising media, so why shouldn’t it continue appearing in our galleries, museums, music venues, and screening rooms in ever-renewing forms? Surrealism bent and stretched our notions of physical embodiment with a bizarre, dreamlike qualities. Low brow art has proven that all that implies beauty and truth is not necessarily beautiful to look at in its stark reality, but worthwhile to consciously examine, nevertheless.

Today’s “Know Brow” art fearlessly stares at it all, if not in the face, where it clearly counts. Perhaps the Third Eye really lies below the waist. Why not realize that “many of the masterpieces of modern art depend on perversion to make their dramatic point”? (Kuspit) Robert Bak suggests, “Fetishism is the model for all perversions.” Still, the seductiveness of the bodies is subsumed in the seductiveness of the overall image or scene. In this context, one’s oeuvre means more than one’s fleshy meat.

Contemporary sexual identity is in flux, creating new sexual types and titillations by actively changing our psychology and sexuality. The future of reconfigured sex is pangendered – pandrogynous (P-Orridge) -- a liquification not only of the organs, but also of all the formerly presumed limitations of our biology. Visual, theatrical and biological experimentation in this area has been happening at the fringes and in the dungeons of contemporary society at least for a few decades, as people play imaginatively with their bodies and sexual personae.


‘Normal sex’ has become all too familiar and boring outside of the bedroom. More than narcissistic indulgence, for today’s artist, the formerly pornographic image is just part of the artistic palette, something to be morphed and remolded in the contemporary context, sometimes hiding the explicit in plain sight. Visions of new ways of connecting are already emerging in the art world, as they always have. “Put an artist at a drawing board and he may design new types of genitals that attach like replaceable parts, or at least move them around a bit (clitoral relocation) so that they are better positioned, or not so vulnerable (internal testicles). Genitalia could resemble the unfolding designs of a Georgia O’Keefe painting, or an element that rises indefinitely like M.C.Escher’s staircases. Genitals could be advanced prosthetics that barely resemble the parts that we have today. We could have several genitals, or none. Add an extra one for more stimulation, have none when you really want to focus without distractions.” (More, 1997)

For art to remain vital, not merely decorative and safe, it must follow the currents of the libidinous urge as it flows stronger than ever through our cultural landscape beyond simple physical sensation and somatic gender. We will always be motivated to maintain and feed our greedy sexual appetites. We will also continue craving strong cerebral and aesthetic responses, as well as somatic experiences. So why not praise and celebrate both penis and vagina before technology and imagination make them potentially obsolete? Rather than supplanting the sexual aim, sexual art is vital -- it is preparatory…the seed of “coming attractions.” It is merciless and unrestrained cultural foreplay, designed to rouse us from our indolence, from ambivalence. Why not let it ravish us?


Bonfante, Larissa (2003). “The Naked and the Nude: Erotic Images in the Near Eastern and Greco-Roman Worlds.” Archaeology Odyssey. Jan-Feb 2003, p. 44-53. Duca, Lo (1966). A History of Eroticism. Covina, California: Collectors Publications. Adapted from the French by Kenneth Anger. Evola, Julius (1983). The Metaphysics of Sex. New York: Inner Traditions International. Kuspit, Daniel. “Perversion In Art.” Online at Langer, Susan (1962). “The Cultural Importance of Art”. Philosophical Sketches. More, Natasha Vita (1997). “The Future of Sexuality” Online at . Accessed 4-4-04. O’Connor, David (2001). “Eros In Egypt” Archaeology Odyssey, Sept-Oct 2001, p.42-9. Paglia, Camille. Sex, Art, and American Culture. Paglia, Camille (1990). Sexual Personae: Art and Decadence from Nefertiti to Emily Dickenson. P-Orridge, Genesis (2003). Painful But Fabulous. Soft Skull Press. Prose, Francine (2004). “What Has This Woman Just Been Doing?” Art News, Jan. 2004, p.122-3. Tannahill, Reay (1980). Sex In History. New York: Stein and Day. Yablonsky, Linda (2004). “How Far Can You Go?” Art News, January 2004, p. 104-9.


4900 words
Eye Oh! Productions

EDGE ARTISTS AS ‘STRANGE ATTRACTORS’ A Source of Negentropy in Society

By Iona Miller, 3-2004 and

Before the beginning of great brilliance, there must be chaos. ~ I Ching

Although science and art are social phenomena, an innovation in either field occurs only when a single mind perceives in disorder a deep new unity. ~ J. Bronowski

The level of entropy is the degree of disorder in a given system. This is the reverse of the degree of information that is present. Hence negentropy is the build-up of information, increase of meaning. ~E.E.Rehmus


Artists are the chaotic attractors of the social field. While conventional artists may enjoy great favor, the ‘strange attractors,’ including leading edge and extreme artists have a special role as catalysts in contemporary life. Artists have always drawn others beyond the limits of their ordinary awareness, confronting them with another reality, initiating them into a world of profound meaning without conventional boundaries.

The beginning of the history of modern man traces back to primordial art, such as that found in the Paleolithic caves of Lascaux. From the beginning, art spoke of magic, of the supernatural, of imagination – the fantastic and disturbing. Always strong in content and aesthetic sophistication, it grew, hand in glove, with the emergence of technological skills.

The emergence of art was and continues to be an unparalleled innovation, confronting our psyches with a giant leap in human evolution whose transformative influence continues opening and exploring brave new worlds to this day. Art has been a driving force and living thread woven into the fabric of society since modern man emerged.

‘Homo Negentrop’

Originally, artists were shamans, healers, and magicians. Their art revealed the compelling dreamscape of primal man, his beliefs about himself, this world, life and death, and hope for an afterlife. We might poetically call them the first negentropic humans, Homo Negentrop. Some might argue ironically that artists are a ‘species’ of their own. Unarguably, they created order and meaning from the chaos of existential life.

Throughout history the insightful vision of artists expressing in symbolic form the ‘as-yet-unknown’ (Jung) has been at the cutting edge of social change. It preceded rational and intellectual social ordering. Artists intuitively extract the gold of their unique vision from creative chaos and manifest it for others to see. Their mediums vary from graphic and print modes, to performance art, ritual, body art, film, and even more arcane forms.

Chaos theory has its ‘strange attractors’ that never settle down into any normal rhythm. The strange attractor dances to the innovative beat of a different drummer. Artists, particularly edge artists, function much like these chaotic attractors whose boundaries are deterministic yet unpredictable. They draw from beyond the personality, from transpersonal resources, and the wellspring of the collective human unconscious.

One doesn’t have a Muse; one serves one’s Muse. She comes and goes. In a sense, the artist is ‘ridden’ by the creative daemon that possesses him or her. That daemon, according to Socrates is one’s genius, a compelling force urging us to create.

Passion (drive) and pathos are reflected in the fact that if this daemon isn’t served, the artist can even become physically ill. Images, ideas and inspirations cry out to become manifested. Order or form yearns to be born from chaos; and those very acts of creation breed destruction of old systems.

The artistic life is a chaotic arc of inspiration upon inspiration, following the Muse. Artists walk what for others is ‘the road not taken’ (chaos theory’s bifurcation or forking), sometimes going ‘where angels fear to tread.’ Their charismatic influence pulls others into their orbits, and the small effect of one personality potentially spreads its influence over the world (butterfly effect), sometimes over history. The history of art is one of the richest threads of our cultural heritage.

Artists wriggle among many possibilities before settling into a project. We might take poetic license calling artists ‘beautiful attractors’ (Wildman, 2004). The notion of a beautiful attractor draws on the dynamics of synergy. The power distribution of the artistic community is aimed at mutual aid and learning, much like the healing community. Sometimes artists even engage in deliberate public psychotherapy, impacting their immediate communities.

Artists magnetically draw the attention of others to their creations, to their vision, into the imagination, into the collective future. We might think of them as the ‘indicator species’ of the social ecology, the evolving cultural landscape. Orbiting far from the norm, they provide a negentropic counter-balance – an evolutionary burst, social innovation -- to conservative forms and institutions, which tend to ossify leading to stasis and decay.

Often catalytic artists are the heralds for diversity, for future society, ‘poly-‘ or ‘pantopia.’ They can be consciously aware of this function, such as when extreme artist, Genesis P-Orridge (influential innovator in body art, performance art, rave and Goth culture, and magick) calls himself a “cultural engineer.” He is considered the ‘godfather’ of megastar Marilyn Manson.

The infectious influence of radical artists such as these, though seemingly small gets pumped up to societal proportions through an effect analogous to, if not literally, what is known as ‘the butterfly effect’ in chaos theory. The flapping of a butterfly’s wings can influence global weather through minute perturbations that get pumped up in proportion.

The same pervasive influence which can be claimed for music is true of the avant garde and transgressive film genres, as well. These cult films, including the perennial favorite ‘Rocky Horror Picture Show,’ have transformed the dreamscape of the entertainment industry over the years. What was once outrageous becomes almost banal.

A small-scale pattern takes on global proportions. Viable attractors function as building blocks for higher level structures, including social structures. They organize weaker interactions ‘enslaving’ subordinate structures. In this way the catalytic artist functions as what Jung called a ‘mana’ personality, having similar charismatic qualities to shamans.

Mana is personal power, also known as chi, prana, animal magnetism, or kundalini. Mana initiates the transformative process in individuals and society. Many artists have magnetic personalities. Exhibiting sensitivity to a certain kind of universal guidance, their influence emanates from their sphere of potentiality through synchronicity and serendipity, stimulating catharsis or breakthrough in others.

The effect is moreso when a movement or school of artistic expression is involved (complex feedback loops) as the reality morphing effect increases exponentially. Artists reflect and influence one another. Arguably, artists demonstrate where society may be heading. They haunt the psychic and perceptual frontiers, drawing the future into the now. How many cultural revolutions have begun in artists’ communities?

Art changes the way people perceive reality, how they see life and their place in it. These negentropic innovations become embedded in social structure. Realizations, insight, empathy are implicit. They show us windows of prescient emotions and impulses, their unframed works rending the veil of the human unconscious.

The Artistic Field of Influence

‘We expect artists as well as scientists to be forward-looking, to fly in the face of what is established, and to create not what is acceptable but what will become acceptable . . . a theory is the creation of unity in what is diverse by the discovery of unexpected likenesses. In all of them innovation is pictured as an act of imagination, a seeing of what others do not see . . . “creative observation.” (Bronowski, 1958).

Artists, along with the other innovators, scientists and entrepreneurs, constitute only 1% of the population. We can imagine them at the top of a pyramid of influence, which trickles down to the most solidified or familial and industrial levels of society (see Appendix; Wildman, Table 1). This is clearly less true for the representational artist whose work is without symbolic value, and rather than progressive or transgressive is merely decorative or aesthetic.

Today, science and art aren’t as polarized in their aims as we might think. They are perennial venues for the emergence of discovery, invention, and creation. The argument is that although science and art are social phenomena, an innovation in either field occurs only when a single mind perceives in disorder a deep new unity. Like art, science is an attempt to control our surroundings by entering into them and understanding them from the inside.

“Scientists search for a ‘real’ and hidden, internal visibility (invisible to the naked eye) which will confirm the limits of identity. . .This is an act of limitation which inverts its own criteria by relying on a ‘depth’ model of identity, which is invisible, but gives visibility through microscopic magnification. Yet this search for an invisible core of identity remains open to a visible transgression via artists who are constantly exposing these new certainties as constructs.” (Sargeant, 1999).

The objective and subjective mode are not divorced from one another, anymore than the left and right hemispheres of the brain. Science adapted the artist’s sense that the detail of nature is significant. Like yin and yang, they rely on one another in a dynamic meld that lies beyond the dialectic in the tension of opposites.

Thus, the metaphors of science have gained increasing relevance in the artworld. Art and science begin as imaginative speculation that guesses at a unity or gestalt. Metaphors reflect universal or holistic references and processes, connecting concepts across disciplines.

Gregory Bateson calls metaphor Nature’s language. There is aesthetic pleasure in finding likenesses between things once thought unalike. It gives a sense of richness and understanding. The creative mind looks for unexpected likenesses, through engagement of the whole person.

We can draw from the organic metaphors of quantum physics, field theory, and chaos theory to illuminate the state of the arts. Physics describes the interrelationship of chaos and order as field relationships, while chaos theory describes nature’s own methods of creation and self-assembly. Entropy is the tendency for any closed part of the universe to expand at the expense of order. It is a measure of randomness and disorder -- chaos.

Negentropy is the generative force of the universe. Negentropy (emergent order from chaos) is a nonlinear higher order system, a dynamically creative ordering information. Thinking, science, and art are therefore negentropic.

Negentropy, like art, is ‘in-form-ative.’ It is related to mutual information exchange. Information is embodied in the fractal nature of imagery and symbols, which compress the informational content of the whole. Creativity is an emergent phenomenon patterned by strange attractors, which govern the complexity of information in dynamic flow.

Negentropy is implicated in the successful development of science, economics, technology, infoscience, and art. Negentropy is the degree of order, or function of a state. It relates to the organization of societies, including subcultures such as the artworld, determining the quantity and quality of creative work.

That which was formerly unmanifest comes into being. Negentropy governs the spontaneous transmission and direction of flow of information among systems. The qualities of that information are timeless. It is synergistic in that what was formerly unconnected becomes so, creating something wholly optimal and new – futuristic. In the 1920s, Hungarian scientist, Albert Szent-Gyorgyi coined the term syntropy for ‘negative entropy.’

In cybernetics, a meaningful interpretation of negentropy is a measurement of the complexity of a physical structure in which quantities of energy are invested, e.g., buildings, works, technical devices, and organisms which become more complex by feeding not on energy but on negentropy. Art facilitates negentropy by expanding our general field of experience. Negentropy facilitates artistic realization by creating something from nothing.

The creative act is one of uniting the unmanifest with the manifest world in a meaningful, often symbolic, way. Such conception is relevant to consciousness, organization, structure, faith, subconsciousness, emotion, even spirituality. Above all, creativity means trusting the process. Investigation of the negentropic criterion helps us move toward a truly transdisciplinary doctrine for the artistic field of influence.

The two worlds of science and art have married in the digital revolution. Art has from the beginning required a certain amount of technical expertise, the ability to create and use technology in its execution. Only the means and their complexity have changed, evolving over the years, culminating now in a revolution based on ‘ars electronica’ – the electronic arts.

Psychotronics: the Electronic Revolution

Rather than merely the atavistic/entropic art of the unconscious, the cutting edge artist also reveals a glimpse of the future, in both mediums and content, such as the hypermedia of the electronic revolution: hypertext, net art, digital ‘faux-tos’, digital films, multimedia, interactive media and other electronic and visual narrative forms, including those still to be defined since they haven’t emerged.

The electronic artist still explores the relation of awareness, sensitivity, and expression. All are linked to the telos of manifestation, either in artwork or in society. The future pulls them forward perhaps more strongly than most. In this way, creativity is linked to the evolutionary dynamics of self-organization. We have discovered a new way of being – a hyperrealism. In some instances the body itself becomes indistinguishable from art.

Today’s digital artist, no matter what his or her electronic media, spends a good portion of time in the ‘chip body’ (coined by media guru, Bob Dobbs) – a virtual field -- as opposed to the physical body. This chip body is a vortex of quantum bits of information swirling chaotically in the hyperspaces of digital media, including the worldwide web. It has made a virtual reality of what was once called the astral body, an alternate vehicle for conscious exploration of alternate states and realms.

Similar to the whirling polarized energies of yin and yang, all probabilities and potentials are contained within this vortex or imaginal field body. The nature of this Tao can be seen as a void or a plenum, either a ground state from which all images emerge, or a ripe fullness from which they are plucked out of the aether. Each quantum is a conscious entity aware of all others. This creative source is inexhaustible.

The void of the vortex sets up a resonance carrying the potential for manifesting the force and form of consciousness. Today’s artist must willingly enter this Abyss as it smiles back at him. Images condense as memories, or knots of energy, in the physical or perceptual world.

At certain wavelengths, this imagery resonates back up the vortex or condensing field. Before condensation, perception is multifaceted because all potential is observed. After condensation, the strength of the wave or memory resonates as a single image or flow of imagery.

In quantum physics, wave packets collapses under observation to create manifest reality. They represent the sum of the polarity charges, we can call yin and yang. Collapse is a change in the substance of consciousness, or a change in the state of the vortex created by the introduction of resonance.

If Von Neumann is correct that consciousness plays a part in state vector collapse, then consciousness/reality is a closed loop control system, each feeding the other. Our mind is a reality filter within our brain's reality processor.

In the artistic process, collapse is consistent with focus; focus is consistent with selection; selection is consistent with the resonance or stimulus. The stimulus is consistent with the physical reality and reality is consistent with collapse. In quantum chaos, this collapse is a cascade leading to an entirely new organization – to emergent creativity.

The whole process is a flow or condensation of potential of consciousness. The gauge is the perspective of consciousness or imagination. We are free to choose our perspective, and with electronic media have a way of manifesting a mind-boggling variety of variations at lightning speeds.

The essence of our time-bound experience is receptivity to experience, to flow within the vortex. When we experience our timeless nature – our unbound self -- there is no flow, only resonance. We have the freedom to choose our point of focus or resonance. We can be stimulated by probability or chance, by the chaotic creative process underlying all reality itself.

We cannot predict what will come of it, what will emerge from entering that creative vortex, nor should we even try. All we can do is let go and open ourselves to the morphing power of the transcendent imagination, to bring our awareness into resonance with it. As we transcend the vortex we narrow our freedom to select our perceptual view of the physical world.

Art and the Unconscious

Art and psychotherapy are two ways of understanding the human experience, of demonstrating what we resonate with, and where we are going next, personally and culturally. Art lets our unconscious decipher the narrative contained within, while psychotherapy lets the unconscious create the non-linear narrative.

Art reflects our own emotional issues and provides a glimpse into our unconscious. The films, poems and plays that we find most gripping or poignant tell us something about our own unconscious world and help us reach a greater degree of self-understanding. In creating our own poetry or performing in theater, we are revealing part of ourselves to others that is important for us to share. Our reasons for creating art and our personal reactions to art tell us about who we are and what is most important to us. The decision to create is revealing in itself, but what we decide to create can be equally informative. Writing poetry and performing on stage are very different forms of expression that reflect the personality of the artist, (Pflanz, 2003).

Echoing the shamanic roots of healing and artistic inspiration, these new artforms help us sift through human emotions and confront life's problems. Through art, artists seek to inspire, to create beauty and to grapple with difficult issues through various mediums. In both instances, the challenges facing the human condition are central.

By examining the works we find most moving, we can better understand ourselves. Equally important, the discussion of art, film and literature can provide an invaluable glimpse into the unconscious world. Art helps us understand the organizational landscape:

The relationship between art, aesthetic experience and the unconscious has long fuelled both the creative endeavors of artists, and the analytical and critical musings of theorists and connoisseurs. From the demonic images of ancient painting, to the modernist predilection for the surreal in image and performance, art has provided a means by which humanity has been able to explore and represent that which is usually hidden from us, yet which plays such a central role in who and what we are. Fantastical and often deeply disturbing imagery, sounds and structures have all provided an alternative and often critical means of understanding the world and the relationship we hold to it, while our culture is littered with artistic artifacts that appear to play out the primary psychodynamic processes which underpin the emergence of human subjectivity, (Carr and Hancock, 2004).


Today’s leading edge artist is a technoshaman, using new media to transform the face of art and society. Digital art, in particular, is for the technically gifted, or at least proficient. Of course there are many other very challenging technical processes for creating art besides digital media, as well.

Just as musicians have had to adapt to increasingly complex gear, so have artists in these mediums, whose use may be direct or indirect. Even though some protocols have become more complex, others such as digital film and nonlinear editing have become somewhat easier and more available overall.

In order for today’s electronic artist to be successful in the real world, he or she must not only master the medium to the extent such is possible in a rapidly evolving modality, but also master ‘the media’ -- factors of human perception, subjectivity, and culture. The average viewer of a work of art only gives it 30 seconds of attention, if that, before moving on.

To convey one’s unique vision, means not only producing art, but like a political spin doctor also producing and orchestrating the perception of what that art means in the cultural landscape. Thus, the artist must have a strong entrepreneurial quality, a flair for promotion, and the ability to contextualize the work that is emerging. One must be able to work with and mold the minds of others, to get inside their heads, comprehending what moves them subjectively and how that process works.

The artist defines the social space in which the work will be seen, giving it a historical context by defining its roots and boldly declaring a new point of view. This is far different from simple mastery of the media, as a graphic designer or factory-style animator. Most anyone can learn by rote, by repetition. But the results while pleasing are “safe” or uniformly mediocre, considered “hack” work. The true medium of the leading edge artist as ‘strange attractor’ is, therefore, the culture itself. Marshall McLuhan said ‘the medium is the massage,’ and ‘massaging’ the mass media is part of today’s artistic repertoire. In the post Postmodern world, sponsors are the new art patrons.

We know from the lessons of politics and media that most people come to embrace that which they are conditioned to accept. Mass media doesn’t document or report reality; it creates it, or a version of it with specific cultural or economic ends in mind.

Tastes for certain processes, products, and media are imposed, cultivated, and acquired. Their relevance must be explicitly defined. In this context, edge or extreme art isn’t high or low-brow, but ‘hyper-brow.’ In this process, one must move the audience from the known to the Unknown, since it is the nature of human beings to be both nostalgic and novelty-seeking. The context is the entire history of art -- a thrust that carries us forward into the future on an ever-renewing wave of creative spirit. Learning to surf the gravity waves emanating from the zeitgeist of one’s era is as important as how to apply the traditional rules of artistic production to one’s medium.

Shameless self-promotion and a transcendence of the barriers separating the artist from the art are key notions in this process. Many a gifted artist has sunk into oblivion for lack of the former.

Even in the fine arts world, ‘form follows function.’ And the function of the contributing artist is ‘pathfinding,’ not just creating another pretty or more shocking picture, nor contributing to the glut of recycled commercial imagery that plagues our senses. Creating tangibles from the depths, which truly move us, which speak to us collectively, is another gift altogether. It is work that ‘says something’.

_________________________________ GARTEL’s ‘Slashers’ – Cut Ups from Lotus Land

“Everywhere the blades turn, in every thought the butchery, and it is raw where I wander; but you hide me in the shelter of your name, and you open the hardness to tears.” ~Leonard Cohen, ‘Book of Mercy’

Lucio Fontana slashed his first canvas with a razor in 1958, only a couple of years after the birth of Laurence Gartel, . Fontana's raw, vigorous, and richly expressive works overturned the conventions of art and challenged existing ideas about the role of the artist in the age of rapid technological development. Gartel has done the same for the 21st century geist; he has “returned with a vengeance,” staging a bloodless coup with his ‘Slashers Series’ that opens new multimedia artistic territory.

Fontana’s gold slashed and perforated canvases echo the alchemical quest of transforming lead into gold, everyday neurosis into deeper spiritual authenticity. Gold is inherently appealing and seductive, but spiritual gold remains even more elusive than monetary success for most of us. It lies not in our famous names, our house and gardens, our vain accomplishments or escapist travels, our garages, our designer labels, or brainwashed tastes and opinions. In this quest, we cannot dig deep enough. The alleged surface is gashed not with senseless Postmodern violence but with surgical precision that seeks to release that which would be born anew.

Like Fontana, the prolific Gartel is driven by the spirit of exploration, constantly questioning and extending the boundaries of his own practice, his own digital media, confounding expectations, provoking and amazing an ever-growing audience. Gold, suggesting richness and light, implies a votive or spiritual aura. But it is just one color in Gartel’s bold digital palette of living light. Real inspiration comes in an unexpected instant as a mysterious flowering after silent incubation – a stab in the dark that surrepetitiously adds multifaceted dimensions underlying the screen presence.

What Futurist Fontana did to breakthrough to underlying artistic concepts, digital pioneer Gartel does to break through the thin veneer of human personality, trapped as it is in its 21st century cocoon. The deeper, unseen dimension of authentic personality lies comatose, buried beneath the commercial trappings or armour of the social mask or persona, which ‘protects’ us from our own humanity…from that which would cut through our spiritual materialism, exposing our tender cores, which we guard and adorn so zealously with the ‘lead’ of surgical falsifications, programmed mediocrity, and fashionable conformity.

Moving beyond his photographic investigations, Gartel slashes through these spiritually vacuous, bloodless corpses -- “Lotus Eaters”, somnambulistic consumers mesmerized by the fool’s gold of earthly treasures. GARTEL’s ‘Slashers’ mirror the internal splits in our psyches, the wounds society inflicts on us by confronting us with unresolvable cognitive dissonance. We are caught between the Scylla and Charybdis of a clashing call to a higher humanity and the vortex of crass consumerism born of global cultural imperialism that has become our true religion, imposed by a heartless media machine and pathologically-driven peer pressures – the very opposite of integration, wholeness, authenticity.

Gartel’s visual syntax slashes into the last unexploited space left, the interior of our humanity where we keep our deepest secrets and desires, opening a way back to soul that cannot come from the contemplation of vacant eyes. He invites us – with an uncharacteristic minimalism -- to look below the surface, beyond the snares of entrapment in the so-called “good life,” such as his own in sunny Southern Florida. Does he seek to awaken us from the persistent dream of conformity, of pointless striving, of meaningless rage, of despair over a materialistic world that has stopped evolving and is heading toward the Abyss?

Gartel’s bloodless slashing is not malicious, but revelatory. Neither theatrical or farcical, his aggression is not toward the canvas nor the subjects. It reflects not the violence of Gartel’s soul, but his compassion. It is not a displaced attack against himself, but an attack on outmoded form. He brings the hyper-material playfulness characteristic of all his work to this new collection. In a multimedia twist, Gartel’s societal portraits ‘speak for themselves’ both figuratively and literally. The images seem contained by the screen but their deep cover (underlying ground) contains the intensity of the whole world.

In this way he is also revealing a metaphor of global cyberculture, where image is everything. Net life has added another dimension to our existence – the “chip body.” Slashers are not portraits of ‘real’ people, but archetypal embodiments. “Our double sided cyber/human selves come across the internet, revealing our second selves. Perhaps Gartel’s genius lies not only in seeing it and feeding it back to us with a scintillating mobius of morphing imagery, but also in living it.

We decorate our egos so they look a little nicer. We become secretly superior though, in fact, parasitical. The spiritual ego is subtle, cunning, superior, secretive. It develops because ego has to live somewhere until it dissolves. Authenticity and playfulness are the antidote. Authenticity and playfulness give you the space to face yourself as you are and to confront your darkness and internal splits consciously. This conscious self-encounter brings purity indirectly, without the hypocritical burden of a spiritually pure ego.


Art is a vocation, not a trade. It’s a cliché that it is a process, not a product. One is ‘called’ to create – to manifest -- by one’s inner being, and one ignores the call at one’s own peril.

Born at the cutting edge, the creative edge of chaos, this type of emergent art and artist has the capacity to carry the artistic dialogue into the future. It’s one thing to have vision that resonates, and quite another to articulate it and get it out into the world. Art has a certain healing or negentropic capacity, the capacity to counter the entropic energies of social breakdown, decay, and meaninglessness. In this sense, great art – authentic art -- feeds us, as it has fed mankind from the earliest times.

______________________________________________________ REFERENCES:

Bronowski, J. (1958). ‘The Creative Process.’ Scientific American, Sept. 1958. Volume 199; No. 3.

Carr, Andrian and Hancock, Philip (2004). ‘The Art and Aesthetics of the Unconscious.’ The Second Art of Management and Organisation Conference, Paris, France. Sept. 710, 2004.

Pflanz, Steven (2003). ‘The art of the unconscious.’ Psychiatric Times, June 2003, Vol. XX, Issue 6.

Sargeant, Jack (1999). Deathtripping: the Cinema of Transgression. San Francisco: Creation Books.

Wildman, Paul (2004). Socio-Economic Guidance from an Infinite Universe, in Human Science Technology. 2004: Prosperity Press, Brisbane. p. 35. Prepared for the second Northern Rivers Science-Art Festival and Conference 1-2-04 Science-Art Research Centre (SARC) Uki Northern NSW. Reuniting Art and Science. Murwillumbah Civic Centre.

ABOUT THE AUTHOR: Transdisciplinarian, Iona Miller is a writer, hypnotherapist and multimedia artist, living in Southern Oregon, USA. She has developed extensive groundbreaking work on the relationship of chaos theory and negentropy to emergent paradigm shift or worldviews in philosophy, cosmology, biophysics, medicine, experiential psychotherapy, creativity, art, and society. Many of these articles are collected in her annual journal Chaosophy, available on her homepage.



Art Without Frames;
Science Without Boundaries;
Healing Without Patients

By Iona Miller, 10/2004

“ behave is to choose one pattern among many.” ~ Professor Jose Delgado, Yale

"meaning is not something that is attached to or floats between or behind things that can parade before one's mind but something that connects with something deeply embodied in our being." ~Wittgenstein (1973/1958)

"There was a passionate craving among all ... [intelligentsia] ... for a means to express their new concepts. They longed for philosophy, for synthesis. The erstwhile happiness of pure withdrawal each into his own discipline was now felt to be inadequate. Here and there a scholar broke through the barriers of his specialty and tried to advance into the terrain of universality. Some dreamed of a new alphabet, a new language of symbols through which they could formulate and exchange their new intellectual experiences." ~ Hesse, The Glass Bead Game

R. Buckminster Fuller pointed out that rulers in the past made it virtually mandatory through the rules of academic advancement that the smartest minds became specialists, thus missing the Big Picture. In this way they sought to suppress their own overthrow by those more intelligent than themselves by containing their thought-processes.

This system creates stricture in scientific and artistic freedom. Hermann Hesse not only wrote the classic introspective novels Siddhartha and Steppenwolf, but won the Nobel prize in Literature (1946) for his final masterwork published under two titles in English: The Glass Bead Game or Magister Ludi. This work (set in the 23rd Century) describes a cadre of individuals and their headmaster -- the Magister Ludi -- engrossed in interdisciplinary play engineering cultural values from behind the scenes. Hesse never forthrightly explained just how the game is played, but gave many hints to its structure for future aspirants seeking solutions to the critical predicament of mankind through Global Architectronics.

The Glass Bead Game requires that its players synthesize aesthetics and philosophy. The name Castaglia, the place of knowledge, is the Italian form of the Latin Castalia, which was the Roman name for the spring on Mount Parnassus where dwelt the mythical Muses. Castalia was also the name for the abstract realm of the intelligentsia. Let the game begin…


Free Style is an improvisational aesthetic that uses one’s realtime local surroundings and (synthetic) synchronicities and virtualities from which to create new expressions in any medium or discipline. We can deal with and use “what comes up” in a creative and therapeutic manner; we can intuit, invent, and concoct from the nonlocal information that is at hand if we simply open to that, living artfully from that spontaneous place.

Free style is an intuitive act that is at once intentionally connective with source and presence, thus freeing and directing that which is inside desiring to emerge – meta-creativity. Freestyle breaks free from the vault of derivative, corporate, or audience-driven formula production. After all, it takes risk to either succeed or fail.

This is the source of artistic and scientific freedom. We must trust the process; trust our own vision – the womb of our subconscious that gives birth to full-blown ideas and inspirations. Freedom of expression means each artist is free to create their own style, weaving into the existing genres of expression, combining, contrasting and injecting their own unique rhythms, modulations, and vision by working at their dynamic edge.

Free style results may be concrete or ephemeral, but the drive comes from a commited perspective on the fundamental nature of reality and our nature. It seeks and sometimes embodies a new way of being, an ethic and aesthetic that is open and psychophysically transformational -- morphogenic. The art of survival equals the survival of art.

Ideally, it is the harmonization of cognitive awareness with empathic and compassionate emotional sensitivity to the zeitgeist of the day. It implies a global conscious awareness – “getting” the Big Picture – and perhaps doing something about it.

Creativity is a local embodiment, an essentially holistic process of a spontaneous non-local field of influence that can permeate the globe. The creative process, like a hologram encapsultes the entire gestalt at several levels of observation; each part reflects the whole if at lower resolution. In this way we find meaning in an idea, a piece of art, a performance, or a culturally revolutionary invention.

The thrust and dynamics of the creative process are such that intentionality encompasses multiple threads of creation simultaneously – rhapsodies of multi-tasking without drudgery. Therefore, there can be no “failure”, for a lost project is easily replaced by another project or process – another thread to weave, another melody to play.

“Free-styling” is a spontaneous eruption of the ever-renewing geyser of creativity – it means embodying the process of inspirational flow in each moment – artful living. This form of creativity can originate in the sciences/technology or the arts or any combination thereof (i.e., Hypermedia; Science-Art; Poetry Science; Nonlocal Healing; Global Architectronics). It describes the mutual interpenetration of life and art, a recurrent theme in contemporary art.

This negentropic energy leads to the embodiment of something intrinsically valuable and emotionally meaningful from essentially nothing. Therefore, free style is always breaking news; it cannot be anything but fresh.

Characterized mainly by deep feelings and heartfelt authenticity and intensity, freestyling creates a hyperreal random movement that nevertheless has its own tempo and internal cohesion, even when it moves in quantum leaps. A good example is an incredibly stimulating and cross-pollinating conversation or interview, where real rapport is established with context and depth allowed to emerge. It springs from an open-minded perspective based in authentic emergence rather than contrived product.

The medium may be people, behind-the-scenes influence, mentoring, cross-pollination, dreaming out loud, brainstorming, contributing to global dialogue on topical issues, technological shift, process-oriented therapies, Socratic method, or immersive experiences that transform those who experience them. There are many more.

The often unrecognized modalities are virtually infinite and range from formal to informal, academic and highly technical to “street”. All are means of influencing people and environments, through revealing meaning with little or no commercial or corporate interests. Freestyling tells it like it is. It is art that reveals Truth.

The significance or meaning of life is a central topic in philosophy, art, religion, medicine and psychology though any definitive answer remains elusive. Ethics or morals (personal accountability) should help us cooperate with one another. But there is no moral super-principle that undergirds us all besides humankind’s survival. It is clear, however, if humanity should cease to exist, it all becomes moot. We may be throwing away the entire arc of evolution through poor choices.

If we have values, we have to stand up and be counted and speak out for them. Moral agency and status are relative. Meta-ethics examines our notions about what constitutes ethics or morality relative to the position of others. Related issues are lifestyle choices, decisions, respect, impartiality, responsibility, identity, duty, principles, empathy, compassion, and conscience or consciousness.

The flattening of affect or emotional neutrality is the enemy – the aspect that conditions poor choices and ethical erosion as the acceleration or speed of cognition increases in our mindnumbing modern lives and we become dulled to the field of perception (Damasio 2004). Its been called information overload and future shock.

Ethics is Aesthetic

How can we rectify our guilt and shame for living so heavily on the planet? We are born and die consuming non-renewable resources, at least under current technological conditions. If there is any ‘original sin’, arguably the necessary evil of consumption is it. This fact of life has led our world into ecolo-nomic crisis, which has spawned multidimensional sociopolitical crisis where no one problem can be solved in isolation and change can wreak havoc in other domains.

Ethics relates to intentionality which means more than self-serving, so-called “good intentions,” individually and collectively. It means living deliberately, with global intentionality, which is an artform in itself – living with awareness and acting from that center. It is an aesthetic choice for ‘artful living’, living life in an artful manner in harmony with flow and creativity, choosing enriching experiences over consumerism. Art, which has its roots in primal shamanic culture, has traditionally been associated with the optimistic ‘Bohemian’ ethos rooted in Truth, Beauty, Freedom, and Love.

The question of what makes for a human life that is good for the personliving it has been at the heart of ethics since the Greek philosophersenquired into eudaimonia (‘happiness’) (see Aristotle; Eudaimonia;Happiness; Life, meaning of; Plato; Socrates). Once again, aphilosopher’s theory of the good will almost always be closely bound upwith their views on other central matters (see Good, theories of the). Forexample, some of those who put weight on sense experience in ourunderstanding of the world have been tempted by the view that the goodconsists entirely in a particular kind of experience, pleasure (seeEmpiricism; Pleasure). Others have claimed that there is more to life than mere pleasure, and that the good life consists in fulfilling ourcomplex human nature (see Perfectionism; Self-realization). Nor havephilosophers forgotten ‘the bad’ (see Evil; Suffering; Suffering, Buddhistviews of origination of). Routledge Encyclopedia of Philosophy

Our philosophical ethics are tied to our aesthetic sense and metaphysics, to our worldview – especially for artists and scientists. The mechanistic view is one of greed-creating scarcity, a sense of there not being enough of whatever resources to go around (Fuller). The worldview provides the ground for our beliefs, ideas and lifestyle choices about what is right and what is wrong.

This paradigm is tied to our health, both logistically (through the locked-down healthcare delivery system) and biologically. Healing is the biological form of creativity, and it is both a science and an art, which is why it is practiced. In a mechanistic view our bodies are machines which get worked upon by experts, rather than holistically healed by compassionate providers who cooperate with us in our healing process. For much of the planet, none of this is even an option.

Everyday we witness the reckless extinction of species after species, culture after culture. We live at their expense, and some even find that acceptable. The planet has degraded and its fundamental resources such as water and soils depleted and mined out. Meanwhile the human population has bloomed like algae. Who is to say how long it is before human existence becomes untenable?

This is not a new topic, obviously. It has been the subject of earnest speculation for some time, even before public awareness of the global population bomb (see ZPG). In 1968, the Club of Rome formed a multidisciplinarian team to analyze the precarious predicament of mankind. As an experiment, this endeavor gets mixed reviews as the results have been used to justify another round of Western imperialism.

Recognizing the complex interactions, scientists, educators, economists, humanists, industrialists, and national and international civil servants from ten countries began to think and act globally. Their stated aims were to bring new understanding to policy-makers and the public, and to promote new global policy initiatives and action. This benign-seeming program got twisted into the agenda of the neo-con(servative) parties, and came under the umbrella known as New World Order, who’s hallmark is that absolute power corrupts absolutely. But they only have the power we give them by denying our own.

Predicament of Mankind

The institutions and patterns of thought of the (military/industrial/academic) World-Machine have created an interconnecting set of world-wide problems of an ecological, economic and political nature. Machine-minded think tanks, even if they are thinking globally, can only see entropic decay through their own worldview. They cannot think out of the box, unless there is a fundamental paradigm shift that is reflected in the sciences, and likely foreseen in the arts.

The energy shortage, rise of food prices, scandals in government, and unwinable wars against ideas like idiologies and ‘terrorism’ are the first harbingers of the approaching crisis. There are two routes from here: The route of stagnation and eventual total collapse, and the route of flexibility and growth, which could lead to a golden age. Chaos Theory reveals both catastrophe (bifurcation) and renewal are likely inevitable.

Rather than the obsolete paradigm of a ‘world machine’, we need to think in more organic terms of holistic self-organization – reorganization at a higher level -- as revealed in Chaos Theory, which demonstrates nature’s own creative way of evolutionary assembly. All things are simply connected.

Order emerges spontaneously and unpredictably from the creative edge of chaos – it emerges suddenly from disorder: from the unconscious chaos the concept finally forms, the artistic inspiration is captured, the photographic composition suddenly appears in the frame with just the proper atmosphere. Aesthetic principles of multisensory harmony reflect similar structuring.

With a change in paradigms that is fundamental not merely conceptual, the dangers and the possibilities are as great for us in this 21st century as they were for those in the sixteenth century. In chaos theory, the old system typically undergoes a catastrophic collapse before the new order emerges. The “new order” cannot be imposed on the old system by will nor intentionality.

When all the available world's arable land is required to feed the world's population , even with perfect world-wide systems of land use and distribution of food, there will inevitably be mass famine. Even if productivity is quadrupled it only gives us roughly 50 more years. Once all the land is used to full capacity and the soil mined-out, there is simply no more land. Once the non-renewable resources are gone, that's it. The geological processes that created those resources took hundreds of millions of years.

We are using them all up while simultaneously polluting the ecosphere for decades. The ecosphere is flexible, but not infinitely. We have made massive assaults on it (including such Frankensteinian experiments in ionospheric heating such as HAARP in Alaska and Pine Gap, Australia) with little understanding of the ultimate effect. Sudden increases in the temperature of the earth and melting of ice caps, death of the oceans and rainforests that produce our oxygen are horrible possibilities that such worldwide pollution produces if exponentially continued long enough.

The shut down of the vast oceanic pump from melting fresh water near Greenland would usher in a new Ice Age. Other unpredictable catastrophes include collisions with meteors or comets, pole shifts, or the collapse of the ionosphere with solar scorching of the biosphere. With all this and more to fight against, you’d think we could just get along on our small blue planet, but such is not human nature.

With these scenarios in mind, the human race has a mandate to reinvent entropic technology and revision our existence with an ethically based negentropic technology, based in the proven notion of a virtually infinite universe of potential. Only in this way can we (all) become part of the solution, rather than the problem.

There are many psychic prophecies down through the centuries of a great worldwide war ending this period of history. When social groups become about equally powerful and equally dangerous to each other, some conclude it is time to put them under a common government, and a synthesized civilization. Yet, this process cannot be forced nor engineered.

We must avoid the specialized way of thinking that blindly leads toward these frightful collisions of ideology. We must have a tolerant humanist government – the democratic ideal we inherited from the Greeks whose philosophical culture and aesthetics was based on geometrical harmonies.

This dynamic existential aesthetic is what has come to be known lately as the “DaVinci Code”, that was foundational in the emergence of the Renaissance flowering. The democratic ideal shelters and even fosters idiosyncratic processes and thinking along the spectrum of potentiality that lead toward creative emergence – at the fringes of society and research. Western civilization of the World-Machine has lost its direction and vitality in the Twentieth Century. There are numerous symptoms of this, ranging from crime in the streets, to the ugly unlivability of modern cities, to political corruption, to the pandering tendencies of the information/entertainment industries, to the thickening rigidity and irrelevance of schools and universities. There is no longer any higher center in Western civilization, not religiously, aesthetically, or politically. Christian religion ceased to be vital in the 17th Century; Faustian consciousness has produced a fragmentation of 'higher' cultural worlds and Practical consciousness gives us the total impoverishment of the ordinary aesthetic environment that is one of the chief reasons for the boredom and alienation that most people feel in our cities. The first sign of rigidity in the schools and universities probably came with their reaction to psychical research in the twenties and thirties. Today, swollen hierarchies of administrators absorb half the budget and contribute nothing but obstruction and useless regulation for faculty and students. No alternatives to the World-Machine materialism/Christianity nor to its specialism nor to its teacherism can be explored. Humanist, empirical religionist, open learning schools are actually illegal most places.One of the symptoms of the corruption of Western civilization is that no one feels any higher responsibility anymore. This is especially evident in the publishing industry and in the information/entertainment industry. The importance of an idea for mankind is of no relevance at all in determining if a book or article is published or reviewed. Things are judged from a very narrowly (and in the long run stupidly) commercial viewpoint. Thus, what is published and made famous are trashy, trivial, intellectually flyweight books about future schlock, massaging the media, Dr. Blank's new fad diet, or some white specialist's universalization of his latest rat studies (or studies of human sexual plumbing). ~Limits of Power

Intentional Communities

The Glass Bead Game is thus a mode of playing with the total contents and values of our culture; it plays with them as, say, in the great age of the arts a painter might have played with the colors on his palette. All the insights, noble thoughts, and works of art that the human race has produced in its creative eras, all that subsequent periods of scholarly study have reduced to concepts and converted into intellectual values the Glass Bead Game player plays like the organist on an organ. And this organ has attained an almost unimaginable perfection; its manuals and pedals range over the entire intellectual cosmos; its stops are almost beyond number. Theoretically this instrument is capable of reproducing in the Game the entire intellectual content of the universe. ~Hesse

We are so used to having our cake and eating it too that we assume there are technological solutions to all these entropic problems. One early sign that this is not so is the collision of pollution control requirements and energy conservation in the design of automobiles. It is possible to reduce pollution technologically, but each further improvement is exponentially more expensive in non-renewable resources (such as platinum for catalysts), and in gasoline used, and in performance and cost of the automobile.

Commercial pandering is typical of industry which first does motivation research, then invents and sells a product, not because there is any prior desire or any real need for such a thing, but simply because it is something people can be manipulated into believing they want. Such pandering produces degraded tastes. Image is everything and triumphs over substance. The final result of entropic capitalism and democracy is the same decadence suffered by late Hellenic (Roman) civilization.

The method of value science is to judge things not by whether they are approved by a majority (as in democracy), but by whether they are of genuine value to all in the group. How do we know something is of genuine value? By the test of life, by experience. The laboratory of the value scientist is the intentional community. The value scientist (experimental) is an active participant, committed to the trial community.The eleven theorems of value science all deal with community action, where a community can be as small as a village and as large as the universe. In analyzing any particular problem, of morality, of aesthetics, or of politics, the first thing is to see exactly what action, by whom, to whom, under what circumstances, is in question. Not all ordinary value talk is directly related to action, but the value scientist does so confine himself. He is also mainly concerned with obligations, orders, directions, instructions, etc. The community's action may result in the creation of obligations, orders, instructions or whatever, and create a social situation which motivates them being followed. But what is directly justified is always an action of value.The justification is always relative to a particular actor (an actor may be a particular group). Values are guides to actions, not properties of things or situations. Thus, you always need to specify the actor, and must be aware of the possibility that a particular sort of action may be justified for one actor but not for another. This is the principle of relativity of values. As mentioned, the theorems are concerned with community action. A group action must be of value to every member of that group. This is the group value axiom, and essentially defines the meaning of "community." In order for such justification to be possible, there must be some common value all members of the community share. There are only a few universal personal values, such as life, liberty, and the pursuit of happiness, and all the theorems are based on them. ~Limits of Power

Entropic Agendas

Entropic agendas can arguably be called “diabolical” based on their essential nature: they are death-oriented, self-fulfilling prophecies – “No Exit” nightmarish futures. There is philosophical precedence for this position condemning closed-system paradigms. Applied ethics is of immediate importance not only in public policy but in science, art and medicine where it relates to best practice.

Public policy must therefore support best practice in all the arts and sciences, including the healing arts. It is our undeniable responsibility to the future, to our progeny. It is our legacy, for good or evil. It will in fact determine whether we actually remain human beings, or not – and even whether humanity survives at all. Institutions founded on entropic principles cannot engage, therefore, in best practice, and shortchange future generations at every level of cultural enrichment and sustainability.

The question of what makes for a human life that is good for the personliving it has been at the heart of ethics since the Greek philosophersenquired into eudaimonia (‘happiness’) (see Aristotle; Eudaimonia;Happiness; Life, meaning of; Plato; Socrates). Once again, aphilosopher’s theory of the good will almost always be closely bound upwith their views on other central matters (see Good, theories of the). Forexample, some of those who put weight on sense experience in ourunderstanding of the world have been tempted by the view that the goodconsists entirely in a particular kind of experience, pleasure (seeEmpiricism; Pleasure). Others have claimed that there is more to lifethan mere pleasure, and that the good life consists in fulfilling ourcomplex human nature (see Perfectionism; Self-realization). Nor havephilosophers forgotten ‘the bad’ (see Evil; Suffering; Suffering, Buddhistviews of origination of). ~Routledge Encyclopedia of Philosophy

Sound geometrical principles have been linked to the emergence of scientific thought. They are also fundamental in the formation of geopolitical and secret societies, where “secret” knowledge of these verities undergird technologies of human development and applied wisdom.

For Immanuel Kant, (paradigmatic philosopher of the European Enlightenment), Euclidean geometry characterized that ‘pure form of our sensible intuition’ which is space, a condition imposed by the mind upon the experience of the outer sensible world and thus a condition of the possibility of experience of this world.

Kant joined the key ideas of earlier rationalism and empiricism into a powerful model of the subjective origins of the fundamental principles of both science and morality, and laid the ground for much in the philosophy of the nineteenth and twentieth centuries. Above all, Kant was the philosopher of human autonomy. But once Descarte got ahold of rationalism we were plunge into an era of rational enlightenment, which may come to be seen as the second Dark Ages by future generations.

Kant held that both the laws of nature and the laws offree human conduct must be compatible because they are bothproducts of human thought imposed by us on the data of ourexperience by the exercise of our own powers. This was clearlystated in his last book, The Conflict of the Faculties (1798):Philosophy is not some sort of science of representations,concepts, and ideas, or a science of all sciences, or anythingelse of this sort; rather, it is a science of the human being, of itsrepresenting, thinking, and acting - it should present the humanbeing in all of its components, as it is and ought to be, that is, inaccordance with its natural determinations as well as itsrelationship of morality and freedom. Ancient philosophyadopted an entirely inappropriate standpoint towards thehuman being in the world, for it made it into a machine in it,which as such had to be entirely dependent on the world or onexternal things and circumstances; it thus made the human beinginto an all but merely passive part of the world. Now the critiqueof reason has appeared and determined the human being to athoroughly active place in the world. The human being itself isthe original creator of all its representations and concepts andought to be the sole author of all its actions. (7: 69-70)

Kant’s view was that by the use of our own reason in its broadest sense human beings can discover and live up to the basic principles of knowledge and action without outside assistance, above all without divine support or intervention. Geometry’s demonstrable truths led directly to scientific hypotheses and the experimental method of inquiry. Euclidean geometry began as the science of space and non-Euclidean geometry is now that of spacetime and complexity.

This same fundamental geometrical wisdom forms the basis of sacred sciences as expressed for example in kabbalism, fen shui, Islamic art, Renaissance and Gothic architecture and great monuments. It is the basis of Masonry, and formed an underlying matrix for the philosophy of the Founding Fathers of the American Revolution with its democratic principles. It reveals the harmonies of nature, God and man – and we have applied it as an ideal model and technological basis for our physical, emotional, mental and spiritual lives.

The earliest records of activity in geometry come from Babylon. Whatwe know as Pythagoras’ theorem appears in cuneiform texts of around2600 BC, where it is given an empirical and approximate verification. Asthe name indicates, the subject of geometry originated in the practicalpursuits of land measurement and surveying (though probably not firstamong the Egyptians, as Herodotus famously reports). Although theGreeks did not originate geometry, it is to them that we owe theconception of geometry as an exact demonstrative science as against anempirical and practical discipline. While anecdotal evidence identifiesThales of Miletus as the originator of the idea that geometric statementsare to be proved, it is generally accepted that the Pythagoreans hadtransformed mathematics into a deductive science by around 500 BC.Pythagoras himself is said to have conferred upon geometry the standingof theoria, the manner of contemplative knowledge alone worthy of afree and not a slave people; and to have propounded the belief that itstrue subject matter pertained to intelligible objects rather than to senseexperience. Later, in Plato, geometric figures - circles, triangles, theregular solids - became archetypal ideal forms: perfect, universal,absolute, eternal and harmonious; whereas their sensible instantiations inmatter were seen as inexact, particular, relative, temporal and discordant(see Pythagoreanism §2). …While such methods were suitable to the discovery of simple arithmeticand geometric facts, they were not as conclusive as the deductivemethods canonically compiled in Euclid’s Elements of Geometry (c.300bc). Through its influence, the idea of a demonstrative science wasestablished and geometry became the paradigm of systematicpresentation of a body of knowledge in terms of logical deductions fromaxioms, whose truth was antecedently recognized. Routledge

R. Buckminster Fuller and E.J. Applewhite made brilliant new geomerical discoveries about the process of natural transformations in the atomic nucleus and nature’s own means of assembly. They applied Synergetic or tetrahedrally based geometries, rather than the crude Cartesian coordinate system, which is never employed by nature.

As Fuller pointed out, there are no right angles in nature and she uses great circle economies. This is Nature’s aesthetic expressed geometrically and fractally in all Her creations. 21st century science and arts is still trying to absorb this revelation as more than a concept. It may lead to negentropic technologies that save mankind as a species from itself, from its entropic shadow.

Aesthetics and Ethics

Aesthetics is a kind of interest in certain things, expressed in a kind of judgment, which is concerned with things quite apart from their utilitarian use. Kant even declares aeshetic interest independent of whether they actually exist. Aesthetics is an interest and valuing which is without interest, in the common sense. We are caught imagistically somewhere between the infinitly repeatable with variations and the truly infinite.

Kant drew a sharp difference between an aesthetic and utilitarian interest in things, which is as relevant today in the context of the sciences as in the arts and humanities. He considered this distinction urgent, and it remains so, in that artists are often at the spearhead of human culture (Miller, 2004), and the engineering of that culture through consensus and contagion (fads; memes; mind control). Issues include uniqueness, taste, evaluation, discrimination, virtuosity; objects of devotion and absorption, if not de facto ‘worship’.

Leading edge ideas often emerge in the arts before science or technology catches up with its symbolic yet prescient vision. New technologies now commonly appear as art installations, followed by their ubiquitous appearance in the mainstream. In Kant’s era, aesthetics appeared with the emergence of a merchant class and related to what was desirable to possess or consume. In today’s global economy, formerly isolated parts of the world are newly faced with this dilemma, as are the nouveau riche.

What is intrinsically desirable, individually and by consensus? Kant reduced it to “the Beautiful”…but in today’s world this can be superficially dismissed by confusing it with “the pretty.” Contrived beauty often fails to deliver on its promise, being somewhat akin to rule by committee. To be truly beautiful, technology must reflect nature’s creativity by springing from a negentropic paradigm or worldview. It must add to our well being in some fundamental and sustainable way.

Aesthetic experience is directly related to evaluation of all other kinds of experience, including ethics and politics. Aesthetics is seamlessly woven into our cultural and biological existence. Aesthetic sensibility underlies both the arts and nature, and therefore we find beauty and harmonies in nature experiences, mathematics and science, just as we do in the arts. Artists and scientists are earnestly involved in creative expression in the now as well as hunting the future.

Aesthetics implies sense abilities – and we call it sensibilities. When we agree artistically, what we share is an aesthetic sensibility. A certain rhythm and harmony can also express our emotional rhythms, tone, hue, value, intensity, clarity, etc. Symbolization and signification are also relevant.


Merging Spirituality and Integrative Biophysics

By Iona Miller, 8-2004

“We can assert with certainty that the Universe is all center, or that the center of the Universe is everywhere and the circumference nowhere.” –Giordano Bruno

“If we knew what we were doing, it would not be called research would it?” --Albert Einstein

“Whoever undertakes to set himself up as a judge in the field of Truth and Knowledge is shipwrecked by the laughter of the Gods.” --Einstein

Heavy Meta

We all have a metaphysics – a worldview – whether we are aware of it or not. Science can and should contribute to that worldview of how things are and work, but should not monopolize it. We should locate scientific understanding within a wider view of knowledge that gives equally serious consideration to other metanarratives and forms of human insight and experience.

Perhaps we must learn to respect both domains to understand fully the world in which we live. We can conveniently call the scientific perspective “physics” and the stereoscopic view “metaphysics,” which goes beyond (“meta”) the purview of science alone. Both provide what we can call a “working” knowledge of reality for getting things done, whether they are an entirely accurate reflection of Reality, or not.

There is no unique way to go from physics to metaphysics. Although the reductionist scientific view does not determine the full nature of the existential field, it imposes certain requirements and restrictions on it. Both systems function as socially-structured language games. But even the most reliable map reveals virtually nothing about the detail of the terrain.

Both scientific and metaphysical theories or models must be beautiful: elegant, economical, and coherent, despite any application of their criteria. Metaphysics must explain the entire set of phenomena fundamental to human experience. This can be done, as in physics, from a top-down or bottom-up approach.

In science, top-down means from the cosmological to the subquantal level of observation. In metaphysics, we work from the biological/emotional/mental to transpersonal or archetypal levels of experience and expression. In physics, matter/energy is foundational, while metaphysics considers consciousness even more fundamental. Quantum or nonlocal mind models also reflect the later. We can examine a wide or narrow view of the nature of Reality and our own nature, both scope and detail.

Full Circle

Is physics coming around full circle back to Natural Philosophy after only 500 years? The so-called new physics is described even by its practitioners as “mystical”. Sir Isaac Newton, godfather of modern science, wasn’t merely a scientist, but also an experimental alchemist. Alchemy was the search for the Godhead in matter. Newton presumed that matter and energy were animated from and infused by a more fundamental dynamic that was behind them both – a negentropic source perhaps too fine to observe that fed the fires of the universal engine.

Newton hypothesized that any body can be transformed into another of some kind, including its intermediate grades of qualities. Buckminster Fuller proposed much the same in Synergetics I and II, demonstrating it geometrically in a series of dynamic subatomic transformations, beginning and ending with what he poetically called Cosmic Zero.

Today we refer to that negentropic source as the vacuum potential, vacuum fluctuation, zero-point energy, or synergetically (Fuller) as Vector Equilibrium Matrix. It is the dream of many that mankind can tap this ocean of potential as a free energy source that increases our survival potential. Metaphysicians suggest harmonizing or resonating psychobiologically with this low amplitude resonance enhances spirituality. It is the groundstate of consciousness.

‘Nous’ is an ancient word for what we now call nonlocal mind or consciousness. Many philosophers and modern physicists consider ‘consciousness’ as the fundamental basis of all that is. Nous is, curiously, the French term for ‘we’ or ‘us’. And, indeed, we are That. This metaphysical Source of all that exists lies at the threshold where Nothing becomes something – where the universal becomes the particular.

Normally, it would be considered philosophical at best and solipsistic at worst to attempt in this modern era to illuminate our understanding of the nature of the microcosm with such an archaic non-scientific term. We might expand our philosophical concepts using physics or science models, but can we gain as much by illuminating our scientific paradigms with ancient or modern philosophy? Perhaps we can because throughout history, we have all struggled to find words and concepts for our common human perceptions and apprehensions of Truth.

Such is not the usual realm of science, but that of Transpersonal, Jungian or archetypal psychology, which examines the deeper meanings of concepts which are metaphors of our existence – an artistic or aesthetic as well as deductive method. Aristotle considered ‘nous’ a faculty of the human soul. Today, soul is studied in the domain of these sacred psychologies. Through metaphysics we contemplate both exterior and interior perceptions of the underlying structure of the universe.

When Wolfgang Pauli collaborated with Jung, he encouraged us to find “a neutral, or unitarian language in which every concept we use is applicable as well to the unconscious as to matter, in order to overcome this wrong view that the unconscious psyche and matter are two things.” Psyche and soma are indissolubly wed in nature and our nature, and must be considered in an adequate account of reality.

Can we be scientifically conservative and metaphysically bold, simultaneously? It means walking the narrow edge of Occam’s Razor. Often metaphysical ideas are metaphorical and burden us with false assumptions and irrational quantum leaps of logic. It is not that our subject should be rational and linear, but these arguments are constructed such that if you believe this underlying premise, it is assumed certain outcomes result. At best this is the old mechanistic model of causal or classical physics, not the counterintuitive quantum world.

But the vacuum potential appears to be much more than a metaphor. It is the most fundamental phenomenon we are currently capable of perceiving. It provides us with a new paradigm for our very existence – one that recognizes wholeness, connectedness, integration, and participation in the universal scheme. Every ‘thing’ – from concepts to objects --including the universal waveform originates from the fertile and “whole sum” womb of spacetime. This is also the domain of nonlocal mind.

Most scientists will tell you that wavefunctions, universal or otherwise, do not really exist, except on paper. But it may be that wavefunctions really exist and are akin to the “mind of God”. If the wavefunction is consciousness and our personal wavefunction is connected with it in a constrained or limited fashion, too much information appears as noise. But the connection suggests a relationship between intelligence and spacetime.

Let’s Do the Spacetime Warp Again

Andrei Linde of Stanford has suggested the expanding fractal universe generates emergent information that could be poetically considered an evolving universal intelligence. If so, it is an emergent property of spacetime as is every thing. But seemingly-separate things are a construction of our minds [maya, illusion], an overlay of what is essentially one unbroken movement – a dynamic verb, not a group of nouns.

The largest component of our corporeal existence is the vacuous space between the atoms that make up our physical bodies which are far from solid from the quantum perspective. We are undergird and literally in-formed by that pervasive infnite informational flow.

Could this be the ancient Greek’s “universal harmonious wisdom” resonating as human consciousness? If so, are we listening to its integrative message? …in terms of our paradigms, our technology, our ecology, our ethics? The bottom line is that tapping this soulful source, both through aesthetic and technological means may be the key to our survival as a species.

Commonly translated as ’mind’ or ‘intellect’, the Greek word nous is a key term in the philosophies of Plato, Aristotle and Plotinus.What gives nous its special significance there is not primarily itsdictionary meaning - other nouns in Greek can also signify themind - but the value attributed to its activity and to the metaphysical status of things that are ’noetic’ (intelligible and incorporeal) asdistinct from being perceptible and corporeal. In Plato’s later dialogues, and more systematically in Aristotle and Plotinus, nous isnot only the highest activity of the human soul but also the divineand transcendent principle of cosmic order. In a notoriously obscure chapter (III 5) of his work On the Soul,Aristotle distinguishes nous as ’a capacity to become everything’ from nous as ’a capacity to make everything’, in the way that light makes potential colours actual. This ’active’ nous, called ’immortal’, has often been identified with the Aristotelian Unmoved Mover, whose life is ’a thinking of thinking’ (see Aristotle §16). But Aristotle probably regarded human thought as being godlike rather than as being a product of theUnmoved Mover, who exists as an eternally transcendent thinker. For Plotinus (§4), nous comprises ’primary reality’, the domain ofintelligence and intelligible beings. He construes this domain as an’emanation’ from the ineffable One, the ultimate principle of everything. Taken universally, nous corresponds more or less to a syncretism of Plato’s Forms with Aristotle’s Unmoved Mover. Everlastingly contemplating the One, nous is construed as an equivalence between thought thinking itself and intelligible beings as the only true thinkables. The activity of nous ’overflows’ into ’soul’, the principle of embodied life. As a lower level of reality, soul can only think things by treating them successively and separately. Human beings live primarily at thelevel of ’soul’, but they also, by virtue of their immortal and ’undescended’ self, have access to identification with nous and therebyto a mode of being in which thinker and thought are completely unified. In this transcendent condition, the mind is reality itself. --Routledge Encyclopedia of Philosophy

Buckminster Fuller had his own notions of the morphing dynamics of energy/matter in the womb of spacetime. Fuller re-discovered nature’s own pulsating flux and means of self-assembly. He lamented that classical science is based on Cartesian coordinates and the structurally incoherent cube, rather than nature’s tetrahedral forms and structural tensegrity. He taught us that energy has shape…and that shape emerges from the vacuum potential. As the Heart Sutra implies, form is not other than void and void is not other than form.

The special-case geometrical shape chosen arbitrarily by the engineering-structures-eschewing pure scientists for their energy-measurement accommodation, that of the cube, is structurally unstable; so much so as to be too unstable to be classified as a structure. Unwitting of this mensural shortcoming, Planck's constant inadvertently refers to the cube, implicit to the gram, as originally adopted to provide an integrated unit of weight-to-volume mensuration, as was the “knot” adopted by navigators as a velocity unit which integrates time-space incrementation values.

Spacetime for scientific philosopher Fuller meant:

526.01 There is no universal space or static space in Universe. The word space is conceptually meaningless except in reference to intervals between high-frequency events momentarily "constellar" in specific local systems. There is no shape of Universe. There is only omnidirectional, nonconceptual "out" and the specifically directioned, conceptual "in." We have time relationships but not static-space relationships.

Time and space are simply functions of velocity. You can examine the time increment or the space increment separately, but they are never independent of one another. Space is the absence of events, metaphysically. Space is the absence of energy events, physically. Space is the antithesis of solid. Both are misnomers. Solid (or mass) refers to locals of too high an event frequency for our physical members to penetrate or conceivably tune in. Space refers to locals of an event frequency per volume too low for our apprehending equipment to tune in. Space is all the observer's untuned-in information. Space is finite as a complementary of finite Scenario Universe. As a co- occurrent, complementary function of finite but non-unitarily-conceptual and non- unitarily-tune-in-able Scenario Universe, space is finite. Space does not have definable properties. Only systems have definable characteristics. The cognitive awareness of space derives from definition of system characteristics whose topological interrelationships inherently and coherently divide Universe into insideness microcosmic space and outsideness macrocosmic space. Systems have 32 topological characteristics Space is the integral of all the frequencies that are too low for tune-in-ability. Space is the aggregate of all the vector equilibrium nulls of all magnitudes and frequencies of all isotropic vector matrixes always potentially articulatable in all directions from any point of origin. Space is never linear. Physics finds that Universe has no solid things surrounded by, and interspersed with, space. Life is an inventory of tuning-ins and tuning-outs of experience. Birth is the first tuning in; death may not be the last. Systems divide all of Universe. Thought divides all of Universe. Thought is inherently systemic__whose inherency always has its coherency of space. Only systems can communicate space. Space is systems-defined-and-deferred awareness of potentially tunable otherness.

Fuller considered humanity a micro Universe; unfolding eventuation is physically irreversible yet eternally integrated with Universe. Our experience of time is relative to our mesocosmic size:

Local variability within total order synergetically explains and defines the experience ``time," which is relative size experience. The magnitude of the event characteristics is always accounted in respect to other time cycles of experiences. The cosmically permitted and experientially accommodated actuality of the individual's unique variety of sensorially differentiated local in time-space experiences also accommodates the experienceability in pure principle of individually unique physical life in concert with the only metaphysically operative, cosmically liaisoned, weightless, abstractly conceptual mind, by means of all of which physically and metaphysically coordinate experienceable principles it is experimentally discoverable how genetic programming accomplishes the ``instinctive" conditioning of subconscious, brain-monitored, relative pulsation aberration and transformation controls, which are all reliably referenced entirely subconsciously to the eternally undisturbed, cosmic-coordination regularities unbeknownst to the individual biological organism "experience." The only instantaneity is eternity. All temporal (temporary) equilibrium life- time-space phenomena are sequential, complementary, and orderly disequilibrious intertransformations of space-nothingness to time-somethingness, and vice versa. Both space realizations and time realizations are always of orderly asymmetric degrees of discrete magnitudes. Physics thought it had found only two kinds of acceleration: linear and angular. Accelerations are all angular, however, as we have already discovered. But physics has not been able to coordinate its mathematical models with the omnidirectional complexity of the angular acceleration, so it has used only the linear, three-dimensional, XYZ, tic-tac-toe grid in measuring and analyzing its experiments. Trying to analyze the angular accelerations exclusively with straight lines, 90-degree central angles, and no chords involves pi and other irrational constants to correct its computations, deprived as they are of conceptual models.

Nonlocal Mind Paradigm

The model of nonlocality helps us supercede mechanistic notions of space and time. The universe is infinite, and so is the mind, not in the individual personalistic sense, but in terms of consciousness. The Greeks conceived of the mind as both limited and infinite, human and divine. The root of this notion comes from Hermetic and occult sciences, attributed to Hermes Trismegistus. The mind is not localized nor confined to the body but extends outside it. This notion lies at the root of sympathetic magic.

The Persians were even bolder in their view that the mind could escape the confines of the physical body and create effects in the outside world. Their physician Avicenna declared, “The imagination of man can act not only on his own body but even on others and very distant bodies. It can fascinate and modify them, make them ill, or restore them to health.”

These notions were superceded by later causal and mechanistic views that came to dominate Western science and medicine. The nonlocal mind paradigm suggests we can effectively operate with the realization that consciousness can free itself from the body and can act not only on our own bodies, but nonlocally on distant things, events, and people, even if they are unconscious of the intentionality. It also suggests a new emergent healing paradigm.

This nonlocal model is perhaps the basis of such phenomena as psychosomatics, remote healing, remote viewing, and dream initiations. Physicists use the term nonlocal to describe the distant interactions of subatmoic particles such as electrons. We can experience nonlocal mind spontaneously paradoxically, without losing our individuality.

It has been proven that human minds display similar interactions at a distance (Krippner, Mishlove, Radin, May, Motoyama, Sidorov). These anomalies include therapeutic rapport, telepathy, clairvoyance, precognition, visions, prophetic dreams, breakthroughs, creativity, prayer, synchronicity, medical intuition, nonlocal diagnosis, spontaneous remission, and intent mediated or paradoxical healing. Nonlocal mind erupts spontaneously, surprising, even shocking us. The mind has ultradimensional qualities unlimited by physical constraints.

“Emergence” is the process by which order appears spontaneously from chaos within a system. It is essential to understanding functional consciousness, the mind/body, subjective experience, and the healing process. When many elements of a system mingle, they form complex patterns among themselves as they interact.

When the mind lets go of its rational order, lets the old form die, and enters into unstructured chaos, the whole person emerges with a new form, embodied as a creative expression, an intuition, or as healing. Most often it is characterized by an element of novelty and surprise, since it apparently does not originate in what came before. Both healing and medical intuition are examples of emergence. It is a spontaneous solution to a problem.

The healing arts, from conventional medicine to alternative/complementary medicine (CAM), and from psychology to pastoral counseling are undergoing a shift from a mechanistic to a holistic paradigm. Science is actually an experimental philosophy whose highest value is empiricism, and conventional healing shares this philosophy. All new scientific theories require some unifying idea, and that idea is, by definition, metaphysical – essentially untestable.

Today’s heresies are tomorrow’s dogmas. In any metaphysical dispute, strong non-scientific arguments can propose new theories, which may become scientific. Speculative ideas have contributed heavily to the growth of knowledge.

Rather than discouraging exploration of fringe areas of knowledge, this awareness makes it mandatory we explore all possible modalities and anomalies without prejudice, no matter how unconventional. Even extraordinary subjects may be approached with rigorous protocols. Though subjectivity is unwelcome in science, we can study the subjective nature of experience (qualia) in various ways. The process of healing is one such subjective experience.

The alchemists, who were students of consciousness in matter, created an elixer of life, a “medicine of philosophers”, a cure-all or panacea. What the modern world yearns for is a “meta-syn,” or visionary synthesis rooted not in a mechanistic model but one using nature’s own forms of self-organization.

This model is based on the peculiar characteristics of nonlocality and probability of quantum physics, rather than classical Newtonian mechanics. Hopefully, the new model has the power to resonate with our whole being and propel us into a more effective healing paradigm. Emergent healing is actually a treatment philosophy, rooted in a worldview born from our current understanding of the nature of Reality.

Health is the natural outcome of a meaningful life, not just absence of symptoms. It means a comprehension of the complexities of life that is deeper than the conventional worldview of cause and effect. It proposes that consciousness is the foundation of reality. We do not exist independently from the universe or one another, but the exact nature of that seamless connection is unknown.

Rooted in relativity, quantum, holographic and chaos theories, a nonlocal metaphysical context suggests such a paradigm shift from the purely causal healing model. The interactive field (psychodynamic field) present in healing situations can be amplified intentionally through therapeutic entrainment, or resonant feedback playing off the unified field (universal field). Nonlocal mind operates at the most fundamental level.

The WHOLE SUM Cosmos

There is a pre-physical, unobservable domain of potentiality in quantum theory. It is the basis of fundamental interconnectedness and wholeness of Reality. This cosmos is, indeed, greater than the Whole SUM of its parts.

Theories of the physical vacuum will eventually prove useful in understanding life. For example, it may link biology and consciousness. Rather than an inconsequential epiphenomenon, consciousness is a causal factor in biology. The body is a colloidal suspension that can act like an amorphous liquid crystal, resonating and superconducting in a variety of ways.

Biophysics contends that more in terms of conceptual integration may be learned from the study of life than from the study of nonliving matter. More than molecular biology or bioengineering technology, it is its own field of fundamental research in physics. Its own epistemological and philosophical understanding aims at understanding, not just mastering life

Quantum mechanics determined the primacy of the inseparable whole. Holism is intrinsic to any quantum theory for biology. Descriptions of isolated systems are permissible only under experimental conditions. Holistic properties are defined mathematically in EPR [Einstein-Podolsky-Rosen] correlations. It implies fundamental interconnectedness within the organism, between organisms, and with the environment.

Holistic biophysics is therefore an integrative subject, a specialized but transdisciplinary pursuit. Quantum biology must refer to non-equilibrium thermodynamics, since organisms are open systems best described by complexity. Issues include coherence, macroscopic quantum states, nonlocal interactions, nonlinearity, communication networks, self-organization and regulation, field models, interconnectedness, and consciousness. Field-thinking and field-models are central to bioelectromagnetics.

The Nature of Nothing

The vacuum is filled with virtual photons whose motion constitutes the “zero-point energy”. This “cosmic zero” may be related to consciousness in some as-yet-unknown way. ZPE fluctuates because this fundamental domain is not smooth but consists of virtual particles boiling into and evaporating out of existence. But where did all these photons in the vacuum originate from? They originated on all the other particles throughout the universe.

All the charged particles in the cosmos are doing the same jitterbug dance that causes electrons to radiate and absorb photons like crazy. Zero-point energy is made up of photons created by all those electrons in distant stars. Virtual photons in space are created by the motions of other electrons, mainly by “distant matter,” Each zigzag of a local electron is actually a nonlocal communication between it and distant matter (Swanson).

The local forces of physics have their origin in the distant matter of space. This amount of matter increases as the square of the distance away. There are enough electrons in cosmos to create the vacuum energy we measure, and to absorb all the photons produced by local particles. We are connected to the distant matter and forces that arise from this connection.

The distant matter of the universe can be displaced or disturbed in different patterns, called “modes.” They resemble the vibrational modes of a bell when it vibrates after it is struck. These fundamental vibrational modes can be excited and can resonate. These modes have symmetry and can interact with geometric shapes.

It is possible for every local, nearby electron (or any other particle) to interact nonlocally with the distant matter virtually instantaneously. Radiation can travel backward in time as well as forwards. Photons which travel backwards in time are called “advanced waves.” Photons which travel forward in time are called “retarded waves.”

As we look further away in space, we are also looking backward through time into deep time. Feynman-Wheeler suggested as electrons zig zag, they create photons which radiate away traveling forward in time. Later, it is absorbed by electrons in the distant matter which accelerate and in turn radiate a photon which travels backward in time [actually spacetime], converging back at the original electron’s location almost simultaneously with the first photon’s radiation.

Instant coupling, the concept of photons traveling backward in time equally balanced by those going forward in time, is deeply embedded in contemporary physics. When electrons point toward one another, their velocities create an interaction over huge distances that is narrow and intense. They push one another backwards at near the speed of light.

Mutual interaction leads to a finite exchange of energy and momentum in the form of a very sharply spiked photon, a photon “pulse” It is these photons that make up the “zero-point energy” of space. The coupled photons produce a very, sharp, short pulse or spike of electromagnetic energy at the smallest unit of energy exchange. Every interaction between electrons consists of one or more photon pulses.

At the Planck scale, space-time structure of the universe begins to break up. Smaller scales than this make inertia and position meaningless. Synchronizing the phases of the photon pulse combines them into “wave trains” or “quantum wave packets”, actually made up of many photon pulses from elementary exchanges between electrons.

Interestingly, this means the electrons are communicating both forward and backward in time, much like in the quantum handshake of Cramer’s transactional model of QM. They send and receive signals across the universe virtually instantly. The nature of spacetime is such that the further away we look, the further we see into the past. Each quantum photon consists of many photon pulses, which are collectively the ZPE of the vacuum of space (Swanson). Electrons can synchronize together in a collective effect and undergo a “phase transition.” Random motions are then superimposed on synchronized motions and collective oscillation occurs, which is a long range temporal order.

Quantum Jitterbug

Each particle sees itself in the center, surrounded by distant matter. The central electron only sees an electron out at the edge when their velocities line up and this only occurs when they are “in sync.” The key is when their periodic motions remain in step with each other. In this “phase locking” all electrons in the coupled system orbit around their average position at the same frequency. This is the womb of quantum mechanics, but we don’t see the inner workings, just the “fuzzy ball” of probability on the outside.

The phase conditions for stable orbits [Higgs’ Phase] will only be right at certain spots. The places at which stable orbits can occur will form a regular array resembling “crystal structure” at very small scales in space, so electrons actually “jump” from one such point to another. Frequency has a very definite physical meaning. It is the rate at which the electrons (or any particles) orbit their center of mass location.

Electrons are either in phase and able to see and interact with each other, or out of phase and therefore effectively invisible and unable to exert force on one another. Unsynchronized particles appear as “quantum noise.” Other nearby parallel dimensions normally only interact with ours through quantum noise. However, consciousness appears to interact across these parallel dimensions.

Coherence between parallel realities can be thought of as hyperdimensional structure which crosses dimensions. It is nonphysical yet has physical manifestations. Higher dimensional structures can be designed which, by their shape and topology, are stable. Such forms may be a possible model for consciousness and the soul. The hypercube is one such hyperdimensional structure that has a long mystical tradition (Merkabah; Cube of Space, Star Tetrahedron).

The key is to understand what makes up these higher dimensional geometrical structures. The answer is phase variation in spacetime. Normal space is “in phase” from point to point at this deep level, but it experiences small departures from the common resonant phase of all particles. These departures can become systematic. When mapped in spacetime they can form three-dimensional and higher dimensional geometric structures. These “phase structures” can cross several parallel universes, and become the physical basis for “subtle energy” and paranormal phenomena.

Electromagnetic waves are a collection of synchronized photons of different frequency and amplitude. Radiation is constantly pouring in and flowing out, balancing on average. The electron goes forward and backward in a seemingly random pattern in space and time, in order to balance all the radiation coming in and flowing out.

This balanced radiation pattern is analogous to the interference pattern of a hologram. A 3-D pattern of energy created by regions of interference is what we see as an image. There is creative and destructive interference. An electron and every particle is a “hologram,” produced as the result of the actions of the electron to preserve the balance of energy (Miller et al, 1973).

To be more than ethereal like a technologically produced hologram, it must have mass created by including the photons traveling backwards in time from the future. This is a 4-Dimensional hologram, which is an integral aspect of every particle and real physical object.

Biophoton Emission

If we want to manipulate the particle, electron or whatever, all we need to do is manipulate its 4-D hologram. The brain is a holographic structure which makes an ideal antenna for receiving holographic wave patterns. The brain processes information holographically. This supports the idea that the brain may be a sender and receiver of holographic signals.

“Bose particles” are photons which like to be in the same state; they become entangled or entrained, sharing a frequency. The body creates coherent light. In the cell structure of the body there are membranes which act as conductors of microwave, infrared and visible light. These structures store coherent photons [biophotons] which play a fundamental role in life processes.

Our bodies use light and coherent vibrations to carry out many life processes. The stored coherent photons can be shaped and controlled to affect external photons and external vibrational patterns. The Bose principle extends the idea of entrainment to our own hyperdimensional being. Because of Bose statistics, these patterns or structures of energy simulate other “mirror” structures in the distant matter.

Brainwaves show that the brain becomes more synchronized and coherent in mediation. Based on our 4-D holographic model, the mind has enormous power to affect reality. 4-D type holographic signals are primary communications, “in-formation”.

The DNA in our cells can naturally produce coherent waves, which contain both forward-time traveling waves and matching backward-time traveling waves in phase conjugation. They generate coupled photons which radiate out along the axis of the double helix in both directions [biophoton emission].

What is DNA; where did it come from; how does it function to create life, to create us? We have some of the biochemical answers, but we can look deeper into biophysics for our models. We propose that DNA functions in a way that correlates with holographic projection.

DNA projects a blueprint for the organism that is translated from the electrodynamic to the molecular level. Further, research strongly suggests DNA functions as a biocomputer. This DNA-wave biocomputer reads and writes genetic code and forms holographic pre-images of biostructures. We are more fundamentally electromagnetic, rather than chemical beings.

Each cell is a tiny radio transmitter capable of sending phase conjugate waves into the past and into the future. The real power of DNA and the use of phase-conjugate waves is just a matching pattern of advanced and retarded waves transmitted in phase by billions of cells. The strength of the pattern increases as the square of the number of cells acting in unison. A millon cells transmitting a desired visualization in unison will have a thousand billion times more power than a single cell.

A million DNA cells broadcasting at random just produces noise. All the signals cancel out. But a million DNA cells broadcasting coherently and in unison generates a paranormal power, such as that exhibited by adepts with mindbody control.

DNA molecules of each cell can be brought into coherence by emitted light and sound (Gariaev). This enables the brain, when quiet and coherent, to combine together the signals of many DNA molecules so the desired image or visualization can be brought into being. At the core of this model is synchronous interaction of particles across great distances and time, which may explain many paranormal effects as changes in quantum noise. This model offers a way to understand consciousness, which is much more than the physical body.

PART II: Quantum Bioholography

Integrative Biophysics of DNA

For the time being, the twisted staircase of DNA is explored in the realms of molecular biology and biochemistry. Based on opening this world of biological organization, we can conjecture what mysteries an even deeper look at the functional basis of living matter might reveal.

This is the domain of biophysics, realm of both particle and wave interactions -- fields. It has been demonstrated that DNA is electrically conductive; much like copper wire it can carry a charge. It is believed this live-wire vital capacity may have been the charge transfer that gave life a jump-start. DNA’s ability to transport charge helps minimize genetic damage from oxidation (Lawton, 2003).

The same fundamental physical laws that govern matter and the Universe also govern living organisms. Even a sound biochemical theory can be replaced by an even better, more fundamental, biophysical theory. It is still important to study properties at their own levels, not just as consequences of more fundamental scientific disciplines.

Where are we going? Who knows how future generations of man may be engineered from the 3.3 billion “letters” of the human genome? We have been looking to the genetic code for the secret of life. Perhaps we should be listening to the “genetic ode”, the EM song of life that reverberates throughout our being – the audible life stream.

The Holographic Universe

We are more fundamentally electromagnetic, rather than chemical beings. DNA is not only the driver of evolution but even more fundamental quantum mechanical symmetry-breaking forces (King, 2003).

If we drop down another whole domain of observation from the juicy “wetware” described by chemistry and atomic structure, we enter the subatomic realm of quantum physics. At this level the behavior of matter, both organic and inorganic, is governed not by classical notions of cause and effect or even complex dynamics, but by those of quantum probability.

“Something” appears to emerge from virtually “nothing” which physicists have come to describe as a sea of infinite potential. They call it quantum foam, vacuum potential, or zero-point energy – we can call it the vacuum substructure. Subatomic particles wink in and out of existence on a continuous basis, like some subatomic froth. This “something” appears paradoxically in wave/particle form. This world is not transcendent to matter, but underlies it as a coherent unity, much like ecology underlies biology.

Within this context, some physicists (Miller, 1975; Bohm, 1980) have strongly suggested that the nature of reality is fundamentally analogous to that of a holographic projection. The optical process called holography uses interference patterns. Holography describes transformations of light and optical information mathematically in wave mechanical terms.

The superposition of a split beam of laser light led to the laboratory development of holograms, or recordable holographic images demonstrated by Dennis Gabor beginning in 1949. In 1971, Karl Pribram applied this metaphor to neuropsychology, suggesting it was more than analogy, that the brain actually encodes information as holograms. The pattern holds the form.

Holograms contain all the information needed to reconstruct a whole image. Holograms contain many dimensions of information in far less space, like a compressed file. They hold that information in a subtle network of interacting frequencies. Thus, shining a coherent light (reference beam) or laser through the fuzzy-looking overlapping waves of a 2-dimensional hologram can create a virtual image of a 3-dimensional figure.

The gist of the holographic paradigm is that there is a more fundamental reality. There is an invisible flux not comprised of parts, but an inseparable interconnectedness. The holographic paradigm is one of reciprocal enfolding and unfolding of patterns of information. All potential information about the universe is holographically encoded in the spectrum of frequency patterns constantly bombarding us.

In this dynamic model there are no “things”, just energetic events. This “holoflux” includes the ultimately flowing nature of what is, and all possible forms. All the objects of our world are three-dimensional images formed of standing and moving waves by electromagnetic and nuclear processes. This is the guiding matrix for self-assembly, and manipulating and organizing physical reality.

Criss-crossing patterns occur when two or more waves ripple through each other. In the transactional interpretation of quantum physics, waves of probability originate in the past, present, and future. Events manifest when waves from past and future interfere with each other in the present. That pattern creates matter and energy. The universe emerges from the rippling effects of immense numbers of criss-crossing interference waves. The geometry of the fields is more fundamental than the fields or emergent particles themselves.

Our brains mathematically construct ‘concrete’ reality by interpreting frequencies from another dimension. This information realm of meaningful, patterned primary reality transcends time and space. Thus, the brain is an embedded hologram, interpreting a holographic universe. All existence consists of embedded holograms within holograms and their interrelatedness somehow gives rise to our existence and sensory images.

Interference patterns of waves can be visualized interacting like ripples on a pond. At the quantum level they create matter and energy as we perceive them – lifelike 3-dimenional effects. Consciousness and matter share the same essence, differing by degrees of subtlety or density. There is a strong correlation between modulations of the brain’s EM field and consciousness (Persinger,1987; McFadden, 2002). The universe is a continuously evolving, interactively dynamic hologram.

This “Holographic Concept of Reality” was first suggested by Miller, Webb, and Dickson in 1973, and later touted by David Bohm (1980), Ken Wilber (1982), Karl Pribram (1991), Michael Talbot (1991), and others. In this holistic theory, the Universe is considered as one dynamic holomovement – a grand Unity.

The part is not only contained within the whole, the whole is contained in every part, only in lower resolution. So, following the axiom of “As Above; So Below” we can expect biology to be based on the same physical foundation of creation. Miller and Webb hypothesized precisely this in “Embryonic Holography,” also in 1973. At the time, of course, such notions were untestable. But, with continuing revolutions in technology, now we are closer to modeling and demonstrating this creative process.

DNA as Holographic Projector

In a hologram, wave fields interfere with one another to lay the foundations for the reconstruction of the image of an object. But how are the wave fields produced? The term holography comes from the Greek roots meaning “entire” and “to write”. In holography, the image is projected by a coherent light source split into both an object wave and the reference wave background.

This dichotomous nature is reflected in the particle/wave nature of the DNA molecule, which can be “read out” with biophotons from chromosomes to set up a holographically produced wave field. This superposition of wave fields (object wave and reference wave) creates a wave guide for the formation of biological structure. The image is constructed according to the reference information contained in the genes. The reconstructed object wave is identical with the object wave field. The reconstructed wave fields reproduce exactly the recorded ones (the DNA with genetic code).

Russian research in genetics led scientists to begin looking experimentally at the helical structure of DNA as a possible holographic “projector” of the DNA code. Thus, the existential blueprint described by the spiral staircase of DNA is translated into a complex EM field that guides the molecular growth of the organism. Miller, et al, suggested as much three decades ago, and outlined possible mechanisms of this quantum biohologram at both the cellular and whole organism level.

This process emerges from a domain more fundamental than the standard genetic code triplet model. Biophysics can now describe how our form emerges directly from the void, the vacuum substructure. In essence, we emerge from the cosmic void -- pre-geometrically structured nothingness. DNA is the projector of that field which sets up the stress gradients in the vacuum substructure to initiate dynamic unfolding. Genes function as holographic memories of the existential blueprint.

At the moment of ovulation there is a definite shift in the electrical fields of the body of a woman. The membrane in the follicle bursts and the egg passes down the fallopian tube. The sperm is negative with respect to the egg. When the sperm and egg unite, the membrane around the egg becomes hyperpolarized, shutting out other sperm.

It is at this moment that the electromagnetic entity is formed. The fertilized egg cell contains all the holistic information necessary to create a complete operational human being. The biohologram begins to function at conception and ceases only at death. Our contention is that the DNA at the center of each cell creates the multi-cellular creature hologram by expressing and projecting the DNA in the center of the cells.

The biohologram projected by the embryonic nervous system forms a three-dimensional pattern of resonant structures. These structures behave as acoustic waves, acting as field guides for flowing matter and energy. The holograms are “read” by electromagnetic or acoustic fields that carry the gene-wave information beyond the limits of the chromosome structure. In this new understanding, DNA and the chromosome apparatus is the recording, storing, transducing, and transmitting system for genetic information at both material and physical field levels.

DNA-Wave Biocomputer

The Gariaev group (1994) proposed a theory of the DNA-wave Biocomputer. They suggest (1) that there are genetic “texts”, similar to the context-dependent texts in human language. (2) The chromosome apparatus acts simultaneously both as a source and receiver of these genetic texts, respectively decoding and encoding them. (3) The chromosome continuum acts like a dynamical holographic grating, which displays or transduces weak laser light and solitonic electro-acoustic field. In other words, the code is transformed into physical matter guided by light and sound signals.

Complex information can be encoded in EM fields, as we all know from coding and decoding of television and radio signals. Even more complex information can be encoded in holographic images. DNA acts as a holographic projector of acoustic and EM information that contains the informational quintessence of the biohologram. Quantum non-locality of genetic information is fundamental.

The nervous system acts as a coordination mechanism that integrates DNA projection of the rest of the cells in the system, aligning these cellular holograms. The biohologram, projected by the brain, creates standing and moving electromagnetic wave patterns at different frequencies of the spectrum in order to effect different biochemical transformations. There may be specific electrostatic fields, or there may be electrodynamic field varying at various frequencies, from low (radio waves) all the way up the spectrum into visible light (biophotons) and beyond.

Genes are located on chromosomes in a linear order within the cell nucleus. Chromosomes have the ability to transform their own genetic-sign laser radiation into broadband genetic-sign radio waves (the encoded signal transforms from light to sound). The polarization of chromosome laser photons is connected non-locally and coherently to polarizations of radio waves.

Through this mechanism a new field structure is excited from the physical vacuum by an intrinsic creativity that emerges through DNA. The genome genetic and other regulatory wave information is recorded at the polarization level of its photons and is non-locally transferred or played out through the entire biosystem by the polarization code parameter.

Only 3% of the 3 billion base pair genome encodes the physical body. The four-letter alphabet of genetic elements includes Adenine (A), Cytosine (C), Guanine (G), and Thymine (T) or Uracil (U) components of DNA, arranged in three-letter “words” that tell the cell what proteins to manufacture.

These genetic characters are distributed in the genetic text in a fractal distribution, i.e., reiterated. So, the nucleotides of DNA molecules are able to form holographic pre-images of biostructures. This process of “reading and writing” the very matter of our being manifests from the genome’s associative holographic aspect in conjunction with its quantum nonlocality.

Rapid transmission of genetic information and gene-expression unite the organism as a holistic entity embedded in the larger Whole. Gene-expression is the mechanism by which new patterns are called into being. The system works as a biocomputer – a wave biocomputer.

This biogenesis mirrors the cosmic process of creation. The holographic dynamic underlies both processes of cosmological creation and biogenesis. Chemical bonding is a consequence of the non-linear inverse square law of electromagnetic charge interaction in spacetime. Charge interaction precedes quantum chemistry perturbations of bonding energetics. Despite being genetically coded, molecules form fractal structures both in their geometry and dynamics. Generating core biochemical pathways gives rise to the fractal structures of proteins, nucleic acids and tissues.

Theories of biogenesis, such as Panspermia, are strongly supported by the fact that organic molecules and amino acids, as well as the nucleotides A, U, G, and C have been detected in meteorites. It is a fecund universe, at both the cosmic and human scale.

Quantum Bioholography

Hypothesis: The organization of any biological system is established by a complex electrodynamical field that is, in part, determined by its atomic physiochemical components. These, in part, determine the behavior and orientation of these components. This dynamic is mediated through wave-based genomes wherein DNA functions as the holographic projector of the psychophysical system – a quantum biohologram.

In the mid-1980s, physicist Peter Gariaev first noted a DNA phantom effect in his experiments. DNA was bombarded with laser light. When removed physically from the scattering chamber, its electromagnetic signature, a ghostly holographic after-image apparently remained. What is measured is light scattering from the DNA phantom fields.

No other substance has been found to emulate the effects of the DNA molecule. As long as the chamber is not disturbed, the effect is measurable for long periods of time. Evidence suggests a relationship to the phenomena of endogenous bioluminescence, liquid crystals, and superconductivity. Bioluminescence is the emission of photons of light produced when certain energized electrons drop into a lower or ground state. Humans emit a variety of electromagnetic radiations across the emission spectrum, indicative of the energy state of the organism.

In the nuclei of each cell of the human body, the DNA (deoxyribonucleic acid) carries the structure of our whole body. It is the blueprint not only of our physical form, but also of the processes that our form undergoes in terms of survival. The primal vacuum is the matrix of our existence and proportionately our most fundamental reality. In essence, we emerge from pre-geometrically structured nothingness. DNA is the projector of that field which sets up the stress gradients in the vacuum or quantum foam to initiate the process of embryonic holography.

DNA Phantom

The Gariaev group has discovered a wave-based genome and DNA phantom effect that strongly supports the holographic concept of reality. This main information channel of DNA is the same for both photons and radio waves. Superposed coherent waves of different types in the cells interact to form diffraction patterns. First, they emerge in the acoustic domain, secondly in the electromagnetic domain.

DNA seems to embody the capacity to produce a field experienced by other DNA in the body, linking all holistically together. This dynamic is linked to the cellular level via mechanisms of RNA transfer and enzymatic action in the cell. DNA and RNA are likely to be in non-local communication, possible because DNA molecules in chromosomes are in a state of substance-wave duality.

So, DNA codes an organism both through DNA matter and by DNA wave sign functions at the laser radiation level. Wave information is recorded at the polarization level of photons and is non-local. It is transferred throughout the biosystem by the polarization code parameter, eliciting holistic response patterns.

Gariaev claims to have demonstrated subtle fields emerging from the quantum foam or vacuum potential, making the effect quantifiable and measurable – objective. He found the phantom effect by irradiating DNA with a target UV wavelength of 338 nm. Poponin (1995) went on to suggest that some new field structure is being excited from the physical vacuum by an intrinsic ability that emerges through DNA.

Gariaev discovered the DNA Phantom Effect in 1985 when he worked in correlation spectroscopy of DNA, ribosomes and collagen in the Institute of Physics, in the Academy of Science of the USSR. He was first able to publish his results in 1991, leading to a book in 1994, Wave Based Genome.

He demonstrated a dynamic new field in the vacuum substructure by bombarding it with coherent laser light and coupling it to conventional electromagnetic fields. The experimental protocols for this procedure have been reproduced in Moscow from ideas developed at Stanford, and are currently in another replication by experimental physicist Louis Malklaka.

You Turn Me On: I’m a Radio

In analyzing any complex adapative system, we follow what happens to the information; in this case the genetic information. The quantum hologram is a dynamical translation process between acoustical and optical holograms. DNA and the genome have been identified as active “laser-like” environments.

Roughly speaking, DNA can be considered a liquid crystal gel-like state that acts on the incoming light in the manner of a solitonic lattice. A soliton is an ultra stable wave train that arises in the context of non-linear wave oscillation. Oscillations are set up when DNA acts as a rotary pendulum kindling other oscillations.

Chromosomes can transform their own genetic-sign laser radiations into broadband genetic-sign radio waves. This is the main information channel of DNA, the same for both photons and radio waves. Superposed coherent waves of different types in the cells interact to form diffraction patterns, first in the acoustic domain, then in the electromagnetic domain. The quantum hologram is the matrix of the translations between acoustical and optical holograms. The human biocomputer can be modeled through the marriage of quantum mechanical and complex dynamics.

Other researchers soon obtained similar results, and not only based on photons. Multi-frequency physical fields are now teleported. Based on this data, it’s possible to suppose that photon fields, emitted by chromosomes as sign fields, can be teleported within or even outside the organism’s space. The same is true for wave photon fronts, which were read from the chromosome continuum similar to reading from a multiplex hologram. If photons are transformed into radio waves through the EPR-mechanism, then this phenomenon is vital. In fact, the importance of quantum non-locality existence for a genome is hard to overestimate (Gariaev, et al, 2001).

Basic assumptions of Gariaev, et al included the following:

· The genome has a capacity for quasi-consciousness so that DNA “words” produce and help in the recognition of ‘semantically meaningful phrases.”
· The DNA of chromosomes control fundamental programs of life in a dual way: as chemical matrixes and as a source of wave function and holographic memory.
· Processes in the substance-wave structures of the genome can be observed and registered through the dispersion and absorption of a bipolar laser beam.

Quantum Teleportation

The polarizations of chromosome laser photons are connected non-locally and coherently to polarizations of radio waves. The signal can be “read out” without any loss of the essential information in the form of polarized radio waves. The genome is a quasi-hologram of light and radio waves that create the background necessary for the appropriate expression of genetic material.

Gariaev argues that the genome emits light and radio-waves whose delocalized interference patterns create calibration fields or “blueprints” for a system or organism’s spacetime organization, in a coordinated response typical of living systems. Gariaev asserts that quantum non-locality and holography is indispensable to properly explaining such realtime dynamics.

Other research suggests the fundamental interaction of internal and external fields is the right track. Joseph Jacobson (2002) at MIT, found a way to switch cells off and on with radio waves. His team also "unzipped" and manipulated DNA with a radio-frequency pulse. The same approach worked on proteins as well, and proteins orchestrate nearly all cellular chemical processes.

Thus, genes can act as quantum objects exhibiting the phenomenon of quantum non-locality/teleportation. This robust dynamic assures information super redundancy, cohesion and the organism’s integrity, and thus viability. Gariaev’s experiments suggest that DNA does indeed behave like a single quantum, which induces a “hole” temporarily in the vacuum when the DNA sample is physically removed from the vacuum chamber.

Quantum Bioholography says that DNA satisfies the principle of computer construction. It carries a copy of itself, its own blueprint, while the mechanism engineering the DNA replication is the biophotonic electromagnetic field. The “letters” of the genetic texts A, G, C, U are held invariant.

The existence of the genetic text constitutes the classical signal process of quantum teleportation. It facilitates the quantum mechanical signal processes of both the copying of the DNA as its own blueprint, and of the construction and homeostasis of the organism in a massively parallel way by means of quantum teleportation.

So, the marriage of the 50 year old study of DNA with the 50 year old science of holography has given birth to the model we call the quantum biohologram. The discovery of Gariaev of the phantom DNA and the DNA-wave biocomputer strongly suggests that this is more than a model but actually the physical mechanism for our appearance from virtually nothing. In one way you could say we “came out of nowhere.”

But here we are, nevertheless. It is solely because of our DNA’s ability to transform its genetic blueprint into a physical reality – embodying simultaneously our inherited past and our future. Sure, we can now create ersatz life, but we cannot create the fundamental elements from which it arises, which are the gift of the universe, cooked in giant supernovae aeons ago. It’s like that old joke where the scientist says to God, “We can now make an Adam out of clay” – and God says, “No, first you have to make your own dirt!”


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