Vito Willems


Selected Works

Resonance and Repetition ∞
The Charge ∞
Castle 6 ∞
Governors of the Æther ∞
Membrane Series
Sensory Shift x FIBER
Noema
Panoptic Emissions
Disruptive Silence
Open Axis
Cube of Space
_Interference_
Glimpulse
Impossible Interaction

Selected Writings

| The Divinity of Art and the
Destruction of Classification

| Virtuality and the Superdynamical
| Fluid Space & Trans-Physical
Entities


Extra

⚔︎ 6ix Series ∞
⚔︎ Fragile Ecologies
⚔︎ Jaunu

Collective

⎈ Dharma Initiatives ∞

The Divinity of Arts and the Destruction of Classification
November 2020 | Prof. Dr. Sabine Sanio | Termpaper MA
A story of a young creature, overcoming its anxiety.

𓀡

FOREWORD

Before guiding you into the actual content of this premeditated text I want to excuse myself to you, the reader, with a slight disappointment..̈̆ This pathway of writing a paper is for me merely a tool for reflection, a departure into new potential ways of stirring myself through the complexity of time-space, the understanding of encountering obstructs and encourages, low and elevating vibrational states of energy, producing new knowledges which, hopefully, eventually will give me the ability to think less. Free of thinking by knowing. This, alternatively to the will of addressing or conveying any particular linguistic line of thought in which I would ask you to simply consume it, therefore, since I believe that the conformative field of the W̷ o̷rd̷ ̷ in this particular domain, relating to the unconscious through narrative, creation and magic, the non-rational and immaterial, where the Word is a problematic construct, I want to induce you to invent your own personal journey, a potential narrative that emerges by interconnecting the psychic domain and the material, in which thereis no particular fr̶a̶m̶e̶w̶o̶rk̶,̶ a fluid, virtual,substrate that interconnects all living and non-living agencies, sculpted by your intuition, sense, openness and non-binary understanding, all important notions for the creation of natural m͛a͛g͛ic͛,͛ a phenomenon that has been always around us, within us.

A young creature was sitting on a rock facade at the periphery in the east of the Temple’s court, part of a non- functional and ancient Temple, whereas the court has been currently used as a place for casual assemblies and social gatherings. Intentionally it situated it selves on the same height with the point of convergence that splits the court into two parts, comforting its sight, asserting the enjoyment of nourishments it brought to consume. With the use of its imagination, the young creature drew a vertical line that crossed from the East to the West, penetrating the centre of the strip, creating a singularity that connected with the other end of the court where the gate that connects the court with the ancient Temple, resides. When it finished eating and partly digested its nourishments with the smoke of a herbal pipe, it decided to make a walk, letting the remaining nutrients unify with its fleshbody. It came up with the idea to follow the Path it outlined, enhancing a trajectory that would potentialize a narrative that would emerge based on pure sense and intuition. This pathway was free from any causality, in which the being strived for meaningful coincidences that would potentially emerge. With this thought the creature committed to its destiny, targeting to walk back and forth that line, aiming for the accomplishment of its momentum, by the one and important rule—no evasiveness.

INTRODUCTION

“Walk the Path!”
“Walk the Path!”
“Walk the Path!"


The young creature chanted, and started to march in the direction of that singular point, situated in the far West of the court, a trajectory of around one mile. Although it was confident and full of energy, a slight uncertainty within its interior emerged, nevertheless it was quite a walk since it also had to return, besides, the clouds were densifying and the air was darkening. Still, the young creature knew that they started this quest after all, that there was no way back, giving up would be a denial of its destiny, following with a tremendous influence on its morality. The creature silenced its mind and let it become to rest, started to walk — above all, rational thinking would be controversial to their idea of letting go, becoming free from salvation. The trajectory began to evolve, whereas primitively it seemed like the Path would be a flawless continuum, this seemed not the case. Like rocks interfering the flow of the river—a black spot started to make an appearance

However this paper, “The Divinity of Art and the Destruction of Classification”, could have a propensity towards the notion of an utopia, I want to deflect this course with the following opinion. The ŭtopia and dystopia are not realistic scenarios and only exist in the imaginary. Nature, an all encompassing force in which, I believe, we all, everything, are part of, is a flux of low vibrational states, incorporating the qualities of heaviness, emptiness and destruction, but, however, on the other hand, it also encompasses, simultaneously, the qualities of lightness, fulness and rebirth. This flux, the flux of nature, inhabits a living paradox that signals to us that destruction is equal torebirth, Lifĕ is equal to Death. Accepting this notion, in which we, beings, are challenged to bring the harmonious and inharmonious in balance, the fluid construct of in-fluxes and out-fluxes, always morphing and transforming flows of energetical substrates, within us, around us, dismisses the idea of binary thinking, the good or the bad, male or female, as well as a separation between the concept of an utopia and dystopia, d̵u̵a̵li̵t̵y̵ ̵ is, I belief, the core of the problem of nowadays society, from which the media, our culture of consumerism, is the big propaganda machine that infuses us, beings, with this problem.

In according to this societal configuration that us, beings, have been placed into without asking or without any given alternatives, a challenging aspect of this paper, in this contemporary dynamical arrangement called ʎʇǝıɔos, is not to fall into the angle of the misinterpreted Esotericism — Hermeticism — the Occult. In a time of fake news, conspiracies and hoaxes, it is not easy to dive deep into the world of natural magic, the ancient theology in which its fundament goes back to the Egyptians, a theology that is practiced throughout many centuries, still nowadays, talking about these phenomena doesn’t go without the tribulation of skepticism and nodding heads. For some reason, me, us, as the younger so-called millennial generation, have the feeling that with older generations, especially who have lived and experienced the period of ’sp͛ ͛ir͛ i͛ t͛ u͛ al revelation’ in the sixties and seventies, the hippie mysticism and communal utopianism, it is quite a challenge to communicate about esoteric fields of interests in natural magic, and its sub-practices alchemy and astrology. Mostly evolving into a turbulent construct of communication, reaching high arousal of energy, is a complex situation that mediates between the past and present, in this sense it is possibly because of the polluted image that dissipated this revolutionary movement, emerged from several aspects like the relation of hippies with drug addiction and crime, the Manson murderers but mostly influenced by the overpowering structure of Capitalism, on which most of the supporters had, unfortunately, to obey. Still I belief that Esotericism, the potential ꪀꪖ𝘳𝘳ꪖ𝓽𝓲ꪜꫀ that emerges through the occult knowledge, residing in the form of symbolism, charged material that has the possibility to reach parts of the unconscious, an archetypal form of knowledge that re-appears in many ancient systems of belief, remains of incredible importance as a source harnessing the powers of natural laws, delivering a strong impact on healing practices and most important, the occurrence of optimism.

The last notion before actually diving into the main content of this paper is a short reflection on the ontological status of ‘M͛ a͛g͛ic͛ ’͛ , an aspect that will be mentioned several times in the stretch of time in which you’ll transcribe the writing into your thoughts. With magic I’m not talking about nowadays magicians that take part as practitioners of illusion being active in the entertainment industries, no, I talk about the magic bound to the supernatural, an occult domain that has been practiced through many different centuries, having its fundament in oriental influences, gnostic interpretations of Greek philosophy and strong fundamental roots from ancient Egypt. In this practice there are widen studies in fields like astr✺logy and Ꮬlchemy, the predecessors of nowadays astronomy and chemistry, further occult natural sciences like the secret virtues of plants and stones, nowadays botanology and herbology, but especially its usage in forms of sympathetic magic, using natural groupings and animated matter, тᾰʆ!ṧՊᾰאṧ,for ritualistic purposes,connecting ps͜͡y͜͡c͜͡h͜͡e͜ ͜͡an͜͡d͜͡ ͜ma͜͡t͜͡te͜͜r͜͡,͜͡ carrying the potential to use these supernatural powers for beneficial purposes. In the past there have been already a big revelation on these esoteric theories, for instance the Renaissance, the golden age of magic, in which they were in search of knowledge for the reality we live in, a quest to find hidden knowledges about us beings, a unification with ourselves, internal and external.

The first object that would obstruct body and mind provoked a moment of questioning of what was coming towards the young creature. At a certain point the it realized that someone placed its wagon horizontally on the Path. A salesman, while whistling and performing a dance, barricaded the median of the strip, its horses where feeding themselves with the vegetation on the side of the court. Generally one would deviate from the path since there is plenty of space to bend around it, however, this would break the rule, and reshape the reality it created— its identity. And again, a frequency of doubt started to intervene and a dissonance compressed the harmony within the sensibility from which the Walk departed. It agreed to itself to ask the person if it is fine to climb over the wagon, silly, but it appeared to be the most genuine way. The young creature arrived at the obstacle and asked, although the salesman reacted confused it could only accept its ingeniousness, so it climbed over the wagon and conquered the barrier, a barrier both manifested in mental and physical realm.

PSYCHIC MATERIAL & THE MATERIALISTIC PSYCHE

A feeling of enlightenment stroke the creature’s mind, like solar rays that descend from the clouds, the ladder that is pointing hopefully to the heavenly sphere equipped them with confidence for their continuation of the march, the march of their Path. Despitefully, as soon it passed the first obstacle, a new singularity, coated in deep red colour, started to aggressively come towards the young creature, moving on the inverted direction of its depicted pathway. The pace of this obstacle was uncontrollable and came closer in high speed, they recognised a red knight with in his hand a black metal lance, pointing in its direction, his bandwidth of sight was narrow. The confidence of its encounter with the salesman, in which it was able to overcome part of its anxiety, payed off. The young creature didn’t let the red knight fragment its intuition, it kept walking and at the very last moment the knight chose surprisingly to change his trajectory, its path was cleansed.

A cycle with the containment of personal issues haunted me in the previous couple of years. I was involved in a relationship with an extreme bandwidth of energy exchange, reaching acute intensities within and between both poles, ecstasy̆ and m̑isery. However, in my opinion there was an utmost beauty hidden in the heights and depths that, on the contrary, evolved into critical tendencies of unhealthy repeating patterns. A conglomeration of repetitions and harmful loops that reached its climax in March 2020 hand-in-hand with the evolving tendencies of COVID-19. On my birthday, a few days before we decided to end our relationship, aligned with the first official announcement of the lockdown, I got a severe allergic reaction, symbolizing the stuck feeling appearing from negative emotions, derived from a substance inhabiting a specific mushroom, a mushroom that I was eating occasionally before resulting in this aggressive physical response. All the tensions, energetical substrates of relational unfaithfulness combined with the triggering substance within the mushroom, transmuted into this bodily reaction, in which this event occurred, interconnecting the psyche and matter transformed into an acute symptom. Although there is a whole interdisciplinary medical field, called Psychosomatics, dedicated to phenomena between social, psychological and behavioural factors on bodily processes, wherein especially the link between Psychosomatics and SΨmbΩlism becomes interesting here, in this regard the mushroom symbolizing transformation and the allergic reaction symbolizing the climax of accumulating negative emotions. For instance, a similar transmutation happened, occurring between the psyche and the physical, with a close relative of mine that lost her partner after an extremely tough, sloping trajectory of medication and visiting hospitals. When, sadly, her partner passed away she got an immediate response of a severe attack of eczema, eczema, a symbol of change, covered her knees till the day of now, a symptom that was a complete new phenomena for her, obviously in relation with that strong event occurring in her life, pointing towards a new beginning.

Psychoanalyst Carl Jung was himself interested in events between the psychic and physical, unconscious and conscious, the material and immaterial. He called those events meaningful coincidences or “S͛yn͛ ͛ch͛ ͛ro͛ ͛n͛ic͛i͛t͛i͛e͛s”͛ — not to confuse with the term synchronous, used for two happenings that occur simultaneously. Synchronicity is not related to cause and effect, its is an acausal event that embraces an affection with symbolism and therefore the domain of the unconscious, the immaterial, transmuting through the production of symbolism, feeding back into the conscious, the material.1 Jung mentions an example of these acausal principles coming from the wife of one of his patients, telling him that at her mother’s and grandmother’s death she saw a number of birds gathering around the window of their death chamber. Later her husband had a stroke while walking on the street, and when he was brought home, his wife was already in a state of anxiety because she re2acted on a whole flock of birds alighting her house right before this accident. Its meaning derives from ancient symbolic systems in which the bird is re̾lated to death, in old Babylonia the soul wears a feather-dress, whereas in ancient Egypt the so̾ u̾ l̾ was thought of as a bird. These synchronistic events occurs between the unconscious and the conscious, a dreamlike experience but manifesting in reality. “Had such an incident occurred in a dream, that interpretation would be justified by the comparative psychological material”*2 however now this constitution of a psychic factor has a material response, an interplay of the unconscious and conscious that becomes enacted in the material reality, external physical processes, imaged through symbolism.

Exactly this aspect, the collaboration of the immaterial psyche and physical matter, is a fundamental thought in the realm of natural magic, you could say that synchronistic events are happenings that is in relation to magic. In Jung’s studies on synchronicity he makes a reference to these events as “magical happenings”, natural phenomena, forces that have their own agency, mobilising immanent activity through the interaction between the psychic and material. In the practice of natural magic this collaboration is essential to generate energetic forces for purposes of the beneficial, happenings that inhabit a symbolic value that can charge the material and immaterial, enforcing the energetic substrates into a meaningful event. But how do you open up yourself to these events, how can you get into the in-flux state? The portal to enter the domain of these energetic events, happening around us, starts within us. One of the experiments Jung explains in his Synchronicity is the Rhine experiment3 an experiment on extrasensory perceptin, executed thousands of times with a variety of participants. The rules are fairly simple, the experiment contain a deck of cards in which the participant guesses which card is on top. However the chance to succeed in guessing the first card correctly is always the same, there were some remarkable results. They figured out that if the participants had a higher level of engagement the chance of guessing the right card would increase. The factor of intentionality, the emotional state, openness, health, play key roles in the result, from which subjectivity tries to connect to an otherly scale, between the intelligible and the sensible. This scale is the space that opens up towards the notion of synchronicities or magic, in which symbolism, the 𝓲ꪑꪖᧁ𝓲ꪀꪖ𝓽𝓲ꪮꪀ, but also a certain openness to see the signals around you, in which matter starts to communicate, energy exchange wherein the unimaginable is possible, in which the signs become transformative agents in the open world of movement and transformation.

The gate of the Temple came closer, the young creature agreed to itself to take a small rest and finish the herbal pipe at the end of the convergence, reflecting on the so far experiences it encountered. Comparable to the emergence of the Path, the idea of rest was advised by its intuition and sense, the guide of its Journey, the carrier of knowledge. These ideas are interfering rationality, like a sudden thunderstorm on a sunny day, striking the imagination, teasing the chances of the unexpected. Therefore, the young creature started to fantasise of a possible treasure, some kind of relic, like the pot of gold at the end of the rainbow, however, the imagination can hide itself in the corrupted future, fertilised in the following encounter. While approaching the gate, an intense projection started to enter its subconscious, like a virtue, manifested in the present, carrying both past and future. A yet unclear figure of two elegant, beautiful feminine appearances started to unravel itself, as the salver of a match ignites its flame, one with smooth black long hair and the other golden blonde, waving gracefully in the early night breeze. Both shapes were situated in front of the gate, on a plain of grass, exactly at the point where it wanted to rest. It provoked a painful process of thinking in the young creature, a corruption between the intelligible and the sensible. An overwhelming moment, projecting an experience of relational unfaithfulness into the still unclear image, blurry, since they were on quite a distance.

SOULLESS GRAVEYARDS AND THE NECESSITY OF RITUALS

The forces of the past, which it still carried with itself, transmitted into his own future, like a virus contaminating its prey. This happening constituted a state of confusion, although its pace decelerated, there was still continuation, a stream of unconscious hope embedded in its pace, in which the Path was drawing their steps, like holding the cliff of a mountain where their last lively boost of testosterone allowed to climb up again, pulling the young creature back on to their Path. The young creature changed its sight, its blindfold dissected, an act of morphosis started to manifest itself, a potential mutating into an actuality. Whereas at first its elusive mind absorbed two elegant and beautiful woman with lank hair, they transformed into a couple of two unknown entities, male and female. This morphogenetic structure that emerged, deriving from a concussion between both matter and spirit, that through processes of resistance, in this case their resistance to the forces of doubt, enacted the unimaginable that could emerge out of this transmuted form, a re-organization of the self, transforming into the complexity of being.

The title “The Divinity of Art and the Destruction of Classification” came up in a post-discussion around the seminar ‘ The Specialization of the Arts” with one of my colleges. Whereas I felt the urge in previous decennia to categorise art forms, placing them in boxes, all for a better understanding of its kind. However I do sort of understand its importance, a tendency of needs to define a separate category for everything, which we might think is also part of the process of self definition. For instance when you look at any long art career, you’ll have the work drifting in and out of specific categories, a human oscillation between the general and the specific. But does it reflect on the importance that Art could have, or is it just a tool to make the structure of the commodification of Art more straightforward, an outcome of Capitalism, a system that is based on profit, an outcome of a m̺͆a͆t̺e̺r̺i̺͆a̺l̺is̺t̺ culture, with a focus on the form of the work instead of the inner form, whereas ‘℘rıɱıɬı۷ɛ’ art was focussed on the internal truth and therefore its spiritual value. Take for instance Minimalism Art, a purely physical presence in the space, which separates essence from appearance, cause from effects, a pure capitalist thought, the perceptible is only the perceptible, what you see is what you get. However, Art can function as a necessity, where there is a potential of transformation capable of being a big importance individually and collectively. “A well- ordered idea of ecology and professionalism can stem only from art — in the sense of the sole, revolutionary force capable of transforming the earth, humanity, social order etc.” —Joseph Beuys.

When you visit a museum focussed on so called Art of the Neolithic and Ancient Age (10000BC - 476AD), they will be showing most likely a variety of found sculptures, murals and artefacts gathered through dynasties and kingdoms, reflecting the cultural history of a particular nation. Most of them had a strong spiritually engaged quality, the regions of ancient Egyptian, ancient Greek, African tribes, realms researchers try to uncover till the day of today. Invention of images wasn’t an artwork, but a magic and religious activity giving artist and community a transcendental connection as well as intimate knowledge of nature and the environment. The objects you’ll find are mostly conceived as artworks from that particular time, however, they had obviously not the function of Art it has nowadays, being presented behind glass, for us to buy a ticket and consume the beauty of it, a system oriented on profit. Besides museums embody the replication of systems of colonialism, in which the objects are mostly stolen or traded in very poor circumstances, I think we should critically engage with these objects, since they had, in those times, a specific meaning and function in which now, by being torn out of context, placed as an aesthetical value and reconsideration of the past, in my opinion a corrupt representation, losing its original and mystical value, a destruction of its aura in becoming a soulless object, exposed in a graveyard of soulless matter.

However, the original usage of the objects has important functional purposes, carrying strong spiritual values through its mystification, transferred into deeply embedded structures of symbolism, connecting the practitioners to the supernatural laws of Nature, Magic, Myth, encompassing known and unknown forms of energy exchange, a necessity to reflect agricultural situations through prophecies and channeling into the benefits of healing purposes. These sacred objects, totems, where used in rituals in which matter became infused with gods and goddesses, the act of animism, that through rituals, traversing the incorporation of senses, smell, touch, vision and sound, transcending binary thought, opening both anima and animus, and connecting to the harmonious structures of nature, a gate into the abyss. Şhค๓คຖiŞ๓, one of the most archaic4 and widely distributed occult practices, were concentrated on these metaphysical phenomena, phenomena concentrated on the principles of being. The ceremonies were mostly in charge of the shaman, a person that is dedicated as part of a community, mostly chosen through its personal journey in which he overcame carrying traumas, identity and family crisis, or had otherly visions. These rituals, actions of psychic revelation, through the construction of a variety of phases, auguring the foretelling of events by signs, welcoming the space by opening an image to reflect the mental space, in which there is the potential of a loss and recovery of oneself. As Dorflés says: “the rite constantly uses ... a kinetic play which being actualized ... tends ... to draw the event out of its normal diachronic temporality ... and entails the condition of sacralised time and space” through gesturing the original time space into a new spatiotemporality, there is an opening of a dimension in which you can perceive what has been, until now, i n v i s i b l e, the dimensions of magic.

An example of these ceremonies are part of the so called incantatory forms of magic, using divine chants, or symbolic spells, a tribute to gods or goddesses, the celestial bodies through the energetic structures of Nature, for the regeneration of the self. An example of these spiritual enactments that are embedded in ceremonies originating from the Ancient Greek are the Orphic Hymns, inspired by Orpheus, a mythical figure. He devoted 87 poems to specific divinities and cosmic elements, practiced through offerings and singing, reaching ritualistic ecstasy, to channel into attributes of the divinity through the stellar influences, the spiritus* . The hymns contains elements of magic, mythological patterns deriving through symbolism and therefore the emergence of narrative and imagination, important for the incantation of magic. In the 20th century, symbolist composer Aleksander Skryabin, explored the transformation processes between sound, color and language, traversing the senses, a quite shamanistic thought. He developed musical systems according mysticism, developing divine pleromatic chords. In here he created mysterious atmospheres investigating the detachment of time and space, a rational invention, into the flux of Nature.

The young creature, loaded with faith
Confidently marching towards its trait
Since it passed the viscous red knight
Who in this kingdom will block its strive?


NATURAL VIRTUALITY

The young creature arrived at the border of the court that conjuncts with the Gate of the Temple and asked politely to sit next to the couple, since they were positioned right on its Path. Without adversity, they acknowledged its inquiry, allowed the young creature to seat itselve at the foot of the gate, inverted its singularity, reversing their sight, pointing from the West to the East, from which the Journey had started. The couple left and while calming down, reflecting from the obstructions and its psychic vitality towards its behaviour, as it occurred in between victory and crucification, it remembered itselves to look for a relic, an object that would carry the quite remarkable experiences that it, so far, encountered. While observing the grass area passionately, scrutinizing the foliage of the green soil and encountering not much more than decomposed vegetation, like searching a needle in a haystack, it examined the young creature with a feeling of desperacy. However, as its Path guided to neglect indecisiveness, following its sixth sense, the sense of fertility, its intuition and patience guided, a state where meaning approaches, the unconscious materialized into form, the accommodation of possible essence. With a fraction of a second in difference, the young creature found a small branch hidden in the dead soil, its presence shaped like an arrow, indicating new possible pathways, charged with the experiences of its still young adventure., wherein this quasi-temporal, virtual matter indicated the start of its journey, its Path.

Although history is a struggle of conceptual paradigms, I think it is still useful to look roughly into the Anthropogenetic evolution on the way we conceive the relationship we have with Nature, whereas in its development there have been radical shifts in its ontology. Where the philosophies on nature are carrying the corruptions of the past, used by the selection on a variety of perspectives, it creates a useful reflection on the possible dynamics. In the Odyssey (800BC), a collection of Ancient Greek poems written by Homer, the term phusis, later designated to the work Nature meant literally ‘to grow’, a limited sense of whatever substance designates the development of a plant, formed the ontological base of Nature, in which Homer indicated that Nature is independent from human. Whereas Hesiod’ poems had an attribute towards mythological figures, in which the human where the products of the divine justice of Zeus otherly from the animals, regarding the genesis of the gods as an implication on the morality of civilisation. Aristotles, who was at the origin of the invention of Nature, was the first that started with the objectification of Nature, setting its laws, properties and principles, a first draft of Greek physics that became the foundation of today’s science, In here, however, human still remained part of Nature, all tough with a notion on the metaphysical, the eternal cosmos, a natural framework that always stayed, and possibly returns. However, developing towards our so called Modern era in which I belief there is a big gap between us, beings, and Nature, having its origins in Religion. In here a split occurred between Human and Nature starting from the disruptive emergence of Christianity, in which the universe and earth wascreated from God’s will ,Go̽d bey̽o̽nd̽ Nat̽ur̽e̽,̽ in which the humans functioned as external entities ☦. However, in the Middle Ages there was a throwback to the antiquity and a rediscovery of the work of Aristotles, the unity of nature, combined with the divine transcendence derived from Christianity but as well praising the uniqueness of humankind. In the Renaissance, as mentioned in the introduction, there was a strong movement that had the urge of unification with Nature by practising the occult. Nature had the potential to come back into a strong harmony with Human, however, making a big jump in time, after the industrialisation, the time of the exploitation of nature, caused a certain unharmonious, tenuous and fragmented relationship, even Heidegger called the animal and the stone worldless, refusing other forms of existence. But how does our relationship to Nature look now?

The fast and accelerating technocratic developments, based on computational powers and rapid transfer of informations has brought a lot of implications on society, a transformation that from which most of us are experiencing its fragmentation, qualities of deception and drastic implications on nature and culture. The realm of social media that effectively bombard us with unwanted advertisements, fast flashes of local and global reports that fills up or newsfeed from which we are not sure anymore if it is a xɐoɥ or if it contains actual information, the hysteric notion of an immensely strong energetic device called the smartphone, that somehow slip inside our pockets, embedded as a necessitous extension of our mind. Through this rather pessimistic perspective we tend to feel stuck inside of a paradox of not wanting to be depended on these “bad” technological structures, but at the same time we are depended and can’t live without those phones anymore. Nevertheless, on the other hand, when we would wear more optimist glasses, we can also see positive implications, the “g☹☻d” potentials of these emerging devices and ever updating softwares. For instance its communicative ability and fast access to important kinds of informations in a variety of domains like healthcare, finance and nature. It seems that this construct of tendencies, shifting in between this dual perspective on technology, the equation between the good and the bad, is distancing us from the actual problem, distracting us to ask the right questions, questions that are fundamental to understand our time period, in which our perceptual qualities change, and relations shifts, as well as our relationship to Nature.

In our society there is a certain distance between computational “human-made” technology and Nature. In here we would address these digital technologies within the domain of the V͛ir͛t͛u͛a͛l,͛ and Nature in the domain of the Real, but are these two domains opposed to each other? A good example to question this widely conceived opposition is with the popular medium “Virtual Reality”. Many people would argue that the terminology ’Virtual Reality’ contains a paradox because of the manifestation of two oppositions, the Virtual and the Real. Wherein the term virtual becomes a synonym for artificial or simulated and an antonym of the term we call Reality, a more material and physical manifestation. However, I belief that these two domains, which I would both call substrates, are not opposed but exist in this world simultaneously. “The virtual is fully real in so far as it is virtual.”* However the Virtual hasn’t the tangible constructas from which the Real is composed, which manifests in the here and now, the Virtual is a more heterogeneous flux which is not perceivable in our domain of time and space. However they can exist at the same time, as example, I always refer to a volcanic stone that I found last winter in the Bodega volcano in Lanzarote that erupted for the last time around 200 years ago in which the entropy of intensity was still felt in there. Till the day of now, when I take the stone in my hand I displace myself, with my imagination and senses to that particular location, the stone is therefore Real, existing through matter in my hand, infused with virtuality, displace me from the here and now to that particular place, as dreams, which is I belief completely virtual. So can we ask, is the Virtual part of our Nature?

Let’s take a step back and look on this Virtual construct from above, what would we see? Myself imagining looking at a nest of ants, a shelter with a sophisticated architecture, made up of multiple chambers existing simultaneously, each chamber with a different use, some for storing food, nurseries for the young and resting spaces, connected through a complex system of tunnels. Whereas the Virtual, an immaterial substrate, build out of an ∞infinite∞ amount of oscillations, creating spaces, tunnels of data structures interconnecting those spaces, existing simultaneously ... do you see the similarity? Both nature and the virtual are fluxes of energies without duality, both substantial, always in movement and in transformation, whereas both have a consciousness, spaces that allow the interaction of energetic forces, an all-encompassing system, where different time spaces exist at the same time, perceived by a variety of agencies, molecules, animals humans etc, agencies of both conscious and unconscious mind. Energy, energetic forces, a principle of evolution, breaking science and causality, without existing universal laws on nature, in which time becomes reversible.

While situated at the Gate in the far West of the Temple’s court, the young creature decided to walk back to the singularity from which the Journey departed, a breeze of slight contentment, leaving back an area of decay, indicated by the dilapidated arrangements, inviting the young creature to come back—a return to the more lively East. This would accomplish its momentum, the strive to walk back and forth the median of the strip, no deviation, while chased by the impetus, encompassing energetic forces that derive from an evasive rule, constituting a bodily oscillation open for any obstructive modification, temporal distortions, accelerations and decelerations, inhaling and exhaling, generating a flow, the oxygen of the unknown. This flow, a temporal, dynamical substrate, a fluid that interconnects psyche and matter, in which the Path, the nerve wherein the psychophysical blood circulates, passing obstacles, opening territories, structuring problematic complices in which things connect and break—a web of infinite events that interconnect through non-causal agencies, in which the agencies, for instance the encounter with the salesman, the red knight, the couple and the quest for a relic, each with their own temporal quality, created a non-causal chronology, a Portal to the unexpected. This formation, the constitution of knowledge, of which intuition is the manufacturer, impregnated itself in the following event.

DIVINE TRANSFORMATION & TRANSMATERIALISM

Energetic forces, continuously in motion, ever shifting and transforming, are waves that are implied in our contemporary forms of electronic media, part of our all day communication. Similarly as our visual perception is carried by the waves of light, our thoughts propagated by electrical connections in our brains, electromagnetic waves are all translucent, immaterial, substantial forces that consist of ∞infinite∞ oscillations~~, attracting and resisting, transmuting into actual, perceivable forms. The entropy of electromagnetism, a collection of energetic forces that goes beyond our spatiotemporal perceptions, is a source of life that animates our worldly existence. However, an unknown realm is from where this entropy departs.

Alchemy, the experimental origin of science and chemistry, the poiesis which challenges the concepts of nature physiologically and psychologically, explores the process of individuation into the phenomena of chemical change. A psychobiological frame uncovered in symbolic form. “As Above So Below”, the infamous alchemical sentence, explains the importance of scaling and proportioning, depending on what spatiotemporal scale you look, the same ꩜spiralling꩜ patterns will emerge, on a macro, micro, cosmic scale and so on. Alchemy is a hermetic practice of natural philosophy and foundation of early physics, discussed about the 5th element of life, the Aether. Besides the classical elements, the fluid waters, the rooty earth, the breezing air and the spiralling fire, this element is a form of matter that was believed to fill the universe beyond the terrestrial sphere. This substance of divinity is infused in our world, the immortal soul of all organic creatures, the driving force that animates matter with spiritual essence. A theory of the genesis of this spiritual substance derives from the dynamic interaction between celestial regions and the heavenly bodies, a divine principle of research.

On the other hand, a more contemporary term, ꕥMorphogenesisꕥ, with its mobility, movement and qualities of exchange, has the quality and potential of true healing, a construct of immaterial entities that account for the genesis of form. It is the biological process that causes a cell to develop itself into a new shape by its spatial distribution, the collision of cells that through behaviours of attraction and resistance transmutate into new configurations. I belief that similar transformation of substrative processes happen in for instance shamanistic rituals. Where there is a substrate in the unconscious transmutating, by transcending the senses in actions, the ritual, with the use of symbolism, connecting psyche and matter, a spatial resolution wherein new forms can emerge. An example that crosses the fields of body therapy and bioenergetic methods, where the planetary system functions as a symbolic guidance, i’d like to introduce the Neptunian fog. Neptune the planet of mystery and dreams, as well as the dead lovers, with its oppositions in which an opposition, which is in this case Uranus, the awakener, by for example the use smell, as a trigger of memories and spiritual pictures, highly personal images of the unconscious, can be used to heal from any toxic pattern, patterns that can be of haunting qualities within the interiors and exteriors of lively beings. Through rituals where oppositions are created, these internal 𓂻pathways𓂻 can be filled with energetic substrates that can transmutate into new shapes, meaning to get rid of these patterns is a true form of healing, a shamanistic rite.

Joseph Beuys, was very actively interested in the transformation process of human consciousness, wherein his work he wanted to reach inward levels of human experience. Through forms of artistic communication, energy dialogue into the pre-symbolic and prelinguistic notion of imagery.9 He uses transformative symbolic matter with a temporal plasticity, fat, an unstable matter, which is able to shift from a warm, liquid, state to the solid, cold, state and is able to compensate symbolizing the possibility of movement of life, or felt, a material that retains warmth, breathes, insulates, and therefore has its own life and movement, working like a womb. Heat, life, and cold, death, where his transformative engines, thermochemical interiorises that is continuously in motion, appearing and disappearing, from chaos to order, from the undetermined to the determined, from crystallisation from warmth to cold, from expansion to contraction.10“The principle of resurrection, transforming the old structure, which dies or stagnates, into a vibrant, life- enhancing soul—and spirit—promoting form. This is the expanded concept of Art.” Also he coins the importance of electricity, as a conducting source inhabited in all beings, the Aether, can it be see as the spiritual fluid of essence? “We all have certain electric and magnetic powers within us and ourselves exercise an attractive and repelling force, according as we come into touch with something like or unlike”.11

Within the dynamical processes of computation and current development of cybernetics, a big computational network with a distribution of high processing powers, a new kind of dynamical process tends to emerge, the superdynamical. The key aspect of these complex and highly systems of fluxes is the concept of recursion. ♲Recursion♲ is a function that calls itself during its execution. It feeds its outcome directly back into its system and uses this configuration to (re-)generate new kinds of dynamical and intelligent shapes and forms. This superdynamical process doesn’t distinguish between these two acts but submerge them together as one. The virtual and actual are always feeding each other, constituting new kinds of entities. An example is the electric car. While the physical engine is replaced by a computer and battery, big car companies are hiring sound designers to simulate the engine. Choices of the driver is feeding back, by means of data, to the physical synthesis model of the sound-engine, influencing the driver again. Through this recursive model the actual material of the car becomes transcended, technocratic animism. The role of sound is herein very interesting, an energetic vitality that is moving matter, physically, perceptually, obtaining new material realities by moulding and organising into a revolutionary, evolutionary substance. Where virtual computationality is not developed to interpret results of data, but has a consciousness through ephemeral grouping in which a certain consistency is created.

This process of actualizing and virtualizing simultaneously establishes a certain transparentization of the virtual skeleton of matter, a new perspective on materialism. An entropy of energetic dynamism within electromagnetic spectra, amplifying our reality, in which all structures are influential to each other, morphogenetic devices describing models creating new perspectives of matter, re-ensemble spatial continuities, potentially reorganising the self, transforming the complexity of being. With the use of chance, unexpected happenings, synchronicities, opens a contingency of poetic phenomena, transformative devices that has the capacity to inhabits natural processes. It breaks material free from its one sidedness, a transsubstantation between the actual and virtual, material and spiritual, the substance of transformation, enacted by recursive hybridization.

While its pace was joyful, marching the inverted strip, the young creature got distracted by a golden, orange glance, like a piece of silver coated in gold, melting, blending elegantly in a formation of intelligent grains, the clouds, a lively swarm, illuminating warmly above the trees, like fire escaping its fuel. This phenomenon appeared right next to the Tower, located in a near village, a distinct mark within the landscape, its rectangular fixation battling this ever transforming mixture. A kinetic glance, in motion effectively, yet developing in early stage, harmoniously in conjunction with the light, rapidly growing in the direction of its ultimate form, wherein the cloud took the role of the sculptor. Departing from wavelike shapes, rippled textures coated in light, warm colours, its configuration transited into an embryonic appearance, a golden foetus in which the dark blue sky became the mother’s womb, a prenatal development in which the unborn increases its mass, accelerating its act of genesis, thirty-eight weeks compressed in two minutes, building towards its climax. Its culmination found itself in a discoid shape, where the mass of the embryo filled its circular space, its ambiguity became interpretable, the young creature, filled with amazement, realized it was a planetary body, Luna, with its feminine character, her immortal existence enlightened both sky and it, a miracle. Without a thought, the young creature descended on its knees, pointing its arms gracefully to the heavenly sphere, stood up, and started running uncontrollably towards her figure, uttering its voice incomprehensibly, a screech of liberation, a pray of appreciation towards the gift it received. Luna, with her ability to increase and diminish, choreographed by its sculptor, the clouds, only preserved for a split of a second, dissolving back into the turquoise sky. This event symbolized the creature's Journey, in which it is on its way to undergo a similar transformation, planting the seeds for becoming, the march of fertility, in which the young creature, the still unborn child, opening a Portal, stepping into a flux of temporal events, warped and inscribed onto the Path, the path of its destiny.

CONCLUSION

In a society based on the models of duality and causality, critical conceptions on the way we are recreating our nature, it is important and challenging to re-invent ourselves, us, our reality. With this paper I hope to make an attempt to open up a process of thinking that could challenge current dynamics in a capitalist society, where duality can have an unification in the psyche, a necessity for psychic wholeness, controversially describing the spiritual and immaterial through a patriarchal construct of the word, dissolving and fragmenting. However let’s try to interconnect the understanding that continues the threat of history, in which just the energetic substrate behind the word changes.

S͛͛o͛͛u͛͛l͛͛͛͛=͛͛͛͛͛͛D͛͛͛i͛͛v͛͛i͛͛n͛͛e͛͛͛͛=͛͛͛͛͛͛G͛͛͛o͛͛d͛͛͛͛=͛͛͛͛͛͛V͛͛͛i͛͛r͛͛t͛͛u͛͛a͛͛l͛͛͛͛=͛͛͛͛͛͛M͛͛͛a͛͛g͛͛i͛͛c͛͛͛͛=͛͛͛͛͛͛S͛͛͛p͛͛i͛͛r͛͛i͛͛t͛͛͛͛=͛͛͛͛͛͛S͛͛͛y͛͛n͛͛c͛͛h͛͛r͛͛o͛͛n͛͛i͛͛c͛͛i͛͛t͛͛y͛͛͛͛=͛͛͛͛͛͛N͛͛͛a͛͛t͛͛u͛͛r͛͛e

Currently you can see waves of movements that, through the enactment of happenings and actions, embraces the divine qualities of Nature, following laws of Nature like the rhythm of the moon, the cosmic movements of the heavenly spheres, and embody them as methodologies for healing practices, through body and mind workshop and rituals, by the individual and collectively, an emergence of a ☯Neo-Tribalist☯ foundation, opening the natural dynamics. In here Nature gets a new place, a creative agent, a natural poiesis in which Arts has a necessity, Nature as Creation. A Poetica that emerges through the capacity of production and craft, accomplishing natural capacities, where the poiesis, the internal organization of the discrete, opening up the Mysterium through forces that exceed the intentional act of the author, embedding the symbolic perceptions of morphogenesis, the source of transformation. In which its Nature relies on imagination, the psyche, the loci of mysterious and meaningful interrelations. The Future of Nature is Freedom.

The role of the arts can be to question this principle, making the imperceptible possible and show the immaterial side of matter, the coherent flux, where energies become distributed and recollected, transformed as perceptual echoes by the audience. With the growth of Virtuality, which I belief is a fluid construct that interconnects disciplinary fields, blurring the boundaries of disciplines, the emergence of new forms of transmedia, challenges our view on matter. Wherein the role of computational technologies has the potential to enter new dimensions, the emergence of a technocratic portal, a gateway, that opens through means of direct exchange of energy. The ability, that is embedded in the Virtual, to transcend the material qualities of the device, stretching the spatiotemporal spectrum we are made to believe we live in. Working and understanding this flux, opens up possibilities to animate matter in enlivened, conscious and intuitive ways, a new spiritual understanding, equivalent to the mythical connections of the earlier ages. Using the new possibilities of hybridization between the virtual and real, creative use of communication, for example through emoji’s and fonts, carrying poetic and symbolic qualities that activates the substances around us, the mediator of energetic entropies, affect of morphogenesis, that with its fluidity enforces new ways of creativity, art that functions as the new magic tools of our time.

Transformation of the self must first take place in the potential of thought and mind. After this deep-rooted change, evolution can take place. Evolution as a mental activity. Exploitative attitudes, economy profit oriented entropies, individual modes of thinking and self- imaging. However this creates anger, competition and greed12, an outcome of a materialist culture that are the necessary prerequisites of any transformation. However, transformation of the self must first take place in the potential of thought and mind. After this deep-rooted change, evolution can take place, evolution, a mental activity.

꩜ ∞ ꩜

BIBLIOGRAPHY

Adams, David.“Joseph Beuys: Pioneer of Radical Ecology” (CAA Art Journal Vol. 51, No. 2, Art and Ecology, 1995)
Deleuze, Gilles. “Difference and Repetition", trans. Paul Patton (Bloomsbury, London, 2014) Descola, Philippe “Beyond Nature and Culture” trans. by Jane Lloyd (London: Chicago Press 2013)
Dorfles, G. "Mythes et rites d’aujourd’hui" (Paris: Klincksieck)
Jung, Carl Gustav. “Der Mensch und Seine Symbole” (Olten: Walter-Verlag, 1968)
Jung, Carl Gustav. “Synchronicity” (New Jersey: Princeton University Press, 2011)
Kandinsky, Wassily. “Concerning the Spiritual in Art” (Dover; Revised ed. Edition, 1977)
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Suquet, Annie. “Archaic thought and ritual in the work of Joseph Beuys” (Vol. 26, Autumn Number, Peabody Museum of Archaeology and Ethnology, Harvard University, 1995)
Walters, Victoria. “The Artist as Shaman: The Work of Joseph Beuys and Marcus Coats” (Bloomsbury, 2010)
Yates, Frances. “Giordano Bruno and the Hermetic Tradition” (Oxon: Routledge Classics, 2002)

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