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Paul Laffoly, Mind Physics

Paul Laffoly’s Mind Physics: The Burning of Samsara incorporates painted imagery of photographic documentation of a medium producing ectoplasm. Laffoley established the Boston Visionary cell (his studio) to explore Mind Physics, telepathy, astral projection and visionary art, literature and architecture. Precato Auctor is a diagrammatic painting of a psychotronic device that operates as a prayer projector to generate global healing energies via symbolic psyonics. One section describes how this device will use “the five forms of prayer ammunition related to the two basic forms of energy”, connecting up a ‘prayer battery’ developed by the English UFO religion ‘The Aetherius Society’ to Nikolai Tesla’s giant ‘Wardenclyffe …

Suzanne Treister, Hexen 2039 U.S. Psychological Operations Equipment

Suzanne Treister’s higher paranoid fiction artwork incorporates ‘new military-occult technologies for psychological warfare’ in her Hexen 2.0 works. Telepathy is explored in Hexen 2.0 as brainwashing and mind control as well as real/fictional use of sound, radiation and vibration to shape people’s minds.[1] Treister explores the military desire for mass control, psychic warfare and the development of the internet and web 2.0 social media. For example, she pays particular attention to Pentagon’s psychical and cybernetic research and the invention of the internet, first known as ARPANET, has since evolved into DARPA. DARPA are now developing the Cortical Modem to restore sight in blind people …

Susan Hiller, Witness

Psychical research has led to recent manifestations of UFOlogy and extro-science fiction. Susan Hiller’s Witness takes precedence from both the strange doxai narratives of Psychical Research and UFOlogy to operate as an odd yet sympathetic blend of conceptual art and quasi-anthropological collection of doxai narratives. She works with what Roger Luckhurst and Michel Foucault refer to as ‘subjugated knowledges’ of folk and ghost stories, and literature of the double, captured by the Society for Psychical Research. The discourse of psychical research, despite seeking as many connections to science as possible in sharp contradistinction to Spiritualism and Theosophy, which were aggressively opposed to scientific orthodoxies[1]

Jake and Dinos Chapman, Zygotic Acceleration, Biogenetic, De-Sublimated Libidinal Model

Jake and Dinos Chapman answer the question of telepathy in their twinned bodies through reference to the neurologist Paul Mobius. Maia Damianovic asked Jake and Dinos Chapman if they are “trying to structure a telepathic mode of communication that blurs the psychic barrier between the interior and the exterior and calls being into question?”[1] The Chapmans’ reply (together) interprets or suggests that telepathy is connected to the ability to collapse interiority and exteriority, body and mind, self and group: “The neurologist Paul Mobius suggested that the ‘self is only an organ.’ Using the topolographical figure of the mobius strip he described the cutaneous and …

Sarah-Jane Norman, Hokum

Sarah-Jane Norman is an indigenous Australian artist who was raised by spiritualist parents. Her upbringing has led her to a lifelong fascination with the paranormal. Her mother was a spiritual medium and her father had a vast library on Alistair Crowley and taught her to dowse with a pendulum at the age of eight. Her artwork has an explicitly hauntological postcolonial approach to performance, installation and video, and in her work Terra Nullius Norman stitched the Latin word ‘nullius’ to her chest, from the phrase ‘Terra Nullius’ which was used by Europeans to describe Australia as without inhabitants and to justify and legitimize colonization of …

Zoe Beloff, The Ideoplastic Materializations of Eva C.

Like Susan Hiller, Zoe Beloff works with female image making that could be considered outside of the mainstream canon of art history in her work The Ideoplastic Materializations of Eva C. Beloff has worked with the theme of nineteenth century spiritualism in a number of her works, such as Beyond and The Influencing Machine of Miss Natalija A, about a patient of the psychoanalyst Victor Tausk who believes her mind is being manipulated at a distance by electrical apparatus and secret far away doctors. The Ideoplastic Materializations of Eva C. is a four channel stereoscopic surround sound DVD installation is 30 Minutes, and the …

Juan Downey, The Video Trans Americas series (1973-77)

Juan Downey’s notion of “invisible architecture” was central to his artistic exploration of the ecology of technology and mind within transdisciplinary environmental concerns. These ideas permeate his quasi-anthropological interdisciplinary and inter- and multimedia artwork Trans America, made whilst living with the Yanomami people for three years. Downey created real time video feedback between the Yanomami and televison monitors and the Yanomami saw themselves on television for the first time. These closed video circuits were contemporary with the very first artistic experiments with video feedback systems, along with Nam June Paik’s “Buddha” piece of 1974. As many artists were exploring the video telepathy and transference …

Pia Van Gelder, Psychic Synth

Pia Van Gelder researches Hans Berger’s interest in telepathy, Berger being the inventor of the electro encephalograph. Her artwork Psychic Synth is a large audio-visual environment incorporating projection, light and surround sound. A viewer’s brainwaves are captured by an EEG headset, to create an immersive biofeedback loop that responds to neural impulses. The effects of this feedback loop envelop the audience within a dark space that comes alive with lights, sound and projections to create a colourful, abstract portrait of human psychic states. She uses the technology of the synthesizer to assist telepathic projection of consciousness from bodies into space. Gelder playfully combines spiritualism and …

Emma Kunz, Drawing Untitled

Emma Kunz was an artist and healer who worked with a pendulum to create abstract geometric drawing on graph paper and discovered healing properties of rock minerals in her local area. Some chemists today still stock Aeon A healing rock powder, with her line drawings used on the packaging design. Kunz, aka ‘Penta,’ devised quite independent telepathic interactions and quasi-performance. Kunz worked as a psychic medium, as did modernist artist Frantisek Kupka and Outsider artist Augustin Lesage. Born in Switzerland 1892, she experimented with telepathy in many hundreds of mandala drawings created as part of healing therapy.[1] She started practising telepathy at the age …

Jacquelene Drinkall, Animating the Telepathic Balaclava Fascinator into Thin Air

Drinkall’s work with woven ‘thought forms’ made from woven telecommunications wire is combined with performative engagement with community in this site specific work. This work was made whilst learning intensely about aesthetics of cognitive capitalism and extended cognition in the age of the anthropocene at Saas-Fee Summer Institute of Art (SFSIA). The video depicts students from Saas-Fee Summer Institute of Art and European Graduate School interacting with local trampoliners whilst using a headpiece, called a ‘Telepathic Balaclava Fascinator’, made by the artist from white handwoven telecommunications wire. The coiling of telecommunications wire simultaneously renders telecommunications to be ‘hacked’ crudely via luddite scissor action, whilst also …

Hito Steyerl, How Not to be Seen:
A Fucking Didactic Educational >MOV File

Hito Steyerl ‘stays up with’ the latest consumer technologies in order to stay informed of the latest desires, politics and complications and works with ‘GIF Telepathy’ or the ‘shareable’ telepathy of the poor image. She notes that contemporary reality is already so fantastic that she couldn’t invent it and that in this condition it is necessary to deploy. Her work How Not to be Seen: A Fucking Didactic Educational >MOV File offers lessons in disappearance and instructions on how to pretend you are not there, some of which are to wear an invisibility cloak, to be a superhero, or to be a woman over fifty. …

Haus Rucker Co, Mind Expander project

Haus-Rucker-Co were a Viennese group founded in 1967 by Lauridis Ortner, Gunter Zamp Kelp ad Klaus Pinter, later joined by Manfred Ortner, who used architecture and prosthesis to create altered perceptions of space and situationist critique of cities and utopian thinking. Their Mind Expander works propose to facilitate mental change through bodily prosthetics and social interventions via performative-architectural sculptures. Their work sought to work with altered states and psychedelic communion. Mind Expander I extends the cyborg (‘psi-borg’ and ‘cyberpathic’) telepathy of Marcel Duchamp’s Large Glass by using transparent materials with metallic layers and geometric patterns on a transparent surface. Clear transparent inflatables are a big …

Alvin Lucier, Music for Solo Performer

Alvin Lucier collaborated with a physicist Edward Dewan in 1965 to create Music for Solo Performer. Lucier sat on a chair, eyes closed, whilst his brainwaves were recorded. His brainwaves were then amplified and wired to various different speakers. As the amplified alpha rhythm was below the human audible range, the loudspeakers were put ‘right up against’ various percussion instruments, which were then activated by means of vibration. “While Lucier attempted to refrain from mental activity, percussion sounds slowly started to fill the room, which were suddenly disrupted when he opened his eyes, engaged in mental exercise, or when his attention was drawn towards sounds …

Pierre Henry and Roger Lafosse, Mise En Musique Du Corticalart De Roger Lafosse

The tracklist from this album includes Lévitation, Pénétration, Cortisouk, Electro-Genèse, Voyage, Sauts, Hellzapop, Limonaire, and Fantasia. The live improvisation performance for this album was recorded in 1971, at Musée d’art moderne de la ville de Paris by French composer Pierre Henry, who was also the director of the work, using Roger Lafosse’s Corticalart Device. The researcher and musician Lafosse, founded the Corticalart Device in 1965 to facilitate the transcription of electric cortex waves into electronic signals for further raw manipulations. This experimental music concrete album was released in 1971, with Technical realization by Groupe Artec with electroacoustic equipment from Apsome & J. Heuze. The illustration …

Jacquelene Drinkall, Hypnosis in Video for Brain Computer Interface

Drinkall collaborated with programmer Warren Artmstrong in 2015 to create EEG Bioneuroheadset interaction with a video montage called Hypnosis in Video made in 2000. The movies used to capture scenes of hypnosis from cinema, via digitized VHS videos, include The Exorcist, Videodrome, Big Trouble in Little China and The Andromeda Strain. An emotive headset was used to provide data mapped from the emotional, affective and psychic state of the viewer participant and to remap and create feedback back onto the montage as it is being viewed. Shifting bars of colour, each signifiying a different mental state, are overplayed over the movie montage. After three significant …

Adam Overton, Signify, Santify, Believe (with Claire Cronin, Tanya Rubbak)

Adam Overton experiments with semi-fictional and gentle forms of telepathy in performance, writing, experimental music, massage, workshops, event-production and participatory artforms. He explores telepathy through his focus on the oddness, intimacy and cultish aspects of art. His work Signify, Sanctify, Believe with Tanya Rubbak and Claire Cronin, is an artist-led semi-secular spiritual organisation and features the sacred gifts of dozens of contemporary artists, performers, and visionaries. It is invested in the gentle, temporary, playful exploration of semi-fictional religious technologies and practices. He works closely with Guru Rugu, his avatar and co-director of the experimental meditation center of Los Angeles, for whom he ‘ghostwrites’. His projects …

Philippa Cullen, photo (“Phillipa Cullen … telepathic conductor”)

Phillipa Cullen performed with Ballet Australia and Cell Block in Sydney as a young teenager in the mid 1960s, and studied with Pina Busch and Institute of Sonology in the 1970s. Arts critic Maria Preauer wrote of a Phillipa Cullen’s performance in The Australian newspaper, “… perhaps the biggest revelation of the night was not what Philippa Cullen did for dance (impressive as that was) but what her dance did for the music. It was she who usually called the tune. The change of mood, the change of pace came mostly from her. The players followed her lead intuitively. … In some strange telepathic way …

David Haines and Joyce Hinterding, Telepathy

David Haines and Joyce Hinterding were commissioned by Performance Space to create Telepathy, and it extending on their ongoing work with pulling signals out of the air and energetic aesthetics. It consists of a large yellow triangular wedge structure inside that viewers enter and stay within to experience the all surrounding anechoic chamber environment.Video cameras and monitors add to the ‘visual telepathy’ associated with video performance, both psychological and technological transferences combined, as well as the mind control aesthetic of surveillance. Andrew Murphie writes in the catalogue essay “To experience Telepathy is to renew the experience of a different organization of thought, one found not …

Pauline Oliveros, Sonic Meditations

Pauline Oliveros experimented with telepathic transmission and the cognition of sound in works exploring Deep Listening such as Sonic Meditation III from her Sonic Mediations written in 1973 and published in 1974. She is considered a great figure of American Minimalism and she was also founder of Deep Listening in the tradition of new (age) music and avant-garde spirituality. Oliveros’ abandoned composition/performance practice to develop a method of group listening that flattened the relationship between composer, performer and audience in the service of consciousness raising, environmental dialogue and sonic meditations. She incorporated immateriality with materiality through a practice constant listening and sound performance work combined …

Warren Neidich, Blanqui’s Cosmology

Neidich’s photographic series Blanqui’s Cosmology, in which Neidich created photographic portraits with light pen drawings made upon the shaved heads of 1200 subjects, references ectoplasmic spirit photography associated with Spiritualism and Psychical Research, which can be both nonsensical and yet also proximate to the less flakey discipline of psychology and X-ray technology. Neidich uses long exposure photography to reference nineteenth century camera discourses that integrated scientific, psychological and parapsychological explorations.[1] Walter Benjamin was also quite devoted to Blanqui, and on telepathy Benjamin says: “The most passionate investigation of telepathic processes […] will not say half as much about reading (which is an eminently …

POSTED BY on Jan 9 under Image Gallery

 

CHAPTER 5. Theories of Mind (ToM):
Mind Reading, Empathy and Telepathy

Douglas Gordon, Pocket Telepathy

Bracha Lichtenberg-Ettinger, Woman-Other-Thing, n°12, 1990–1993

Georgina Starr, Theda

Lygia Clark, Baba Antropofagica

Richard Bell, Scratch an Aussie

Sober and Lonely Institute of Contemporary Art (SLICA), Telepathic Pet Drawing Sessions
 
 …

Douglas Gordon, Pocket Telepathy

Douglas Gordon’s work Pocket Telepathy involves of a slide of a hypnotist that is placed into the coats of gallery visitors without their knowledge. The hypnotist has a ruddy and wild expression with his hand raised up near his forehead with outstretched fingers, suggestive of mental energy radiating out from under his skulls to capture attention of viewers. Many viewers felt that something was taken from them, that the experience of finding an object in their coat pockets was less of a gift and more of a tricky violation. Douglas Gordon has worked with postcards as conceptual art objects/ideas. Gordon’s A4 format book g incorporates …

Bracha Lichtenberg-Ettinger, Woman-Other-Thing, n°12, 1990–1993

Bracha Lichtenberg Ettinger is a practicing psychoanalyst as well as an artist and feminist. She has long recognized Duchampian aesthetics of transference and telepathy within her own artwork and both art and psychoanalysis in general. Her unique concept of matrixial borderlinks is interwoven with her work in the zone between affect and semiotics, and is accompanied by the experience of telepathy. She argues that Duchamp brought to aesthetics the uncanny qualities of Freudian transference. Ettinger defines telepathy as accompanying other affective phenomena that arise both within transference and viewing artwork. Ettinger locates empathic, telepathic transference in Duchampian and Deleuzian aesthetics, via her concept of matrixial…

Georgina Starr, Theda

Georgina Starr, a ‘young British artist’, works with hypnosis and telepathy in theatrical video works based in pop culture, such as her 1994-95 Visit to a Small Planet, and Hypnodreamdruff, 1996. A low fi virtual reality telepathy headset described as an ‘extraterrestrial helmet of telepathy’ is worn by Starr in her performance Visit to a Small Planet, 1994-95. Her work with telepathy in The Hungry Brain aspect of her larger body of work called Hypnodreamdruff exaggerates the presence of telepathy in popular self help books, entertainment and as a popular bar topic. The Hungry Brain narrative is constructed within a strange …

Lygia Clark, Baba Antropofagica

Lygia Clark was a Columbian artist and psychotherapist who worked very closely with psychoanalytic concepts, and created Baba Antropofagia, 1973, where she explored dream, extreme transference, collective body and exchange of psychic qualities. Clark deploys a strategy of many telepathy artists to ‘sensitizes us politically.’ Clark’s work Baba Antropofagica was based on a dream: “I dreamt that I opened my mouth and took out a substance incessantly [. . .]”.[1] The participants expelled cotton threads from their mouths, with “cannibalistic slobber”, abject and uncanny like ectoplasm, emitted onto a reclining body. In a letter by Clark to her artist colleague Helio Oiticica, who …

Richard Bell, Scratch an Aussie

Richard Bell works indirectly with ongoing postcolonial debates about telepathy, modernity, physics and appropriation in Australian art, with his main focus being a pop political works that highlight indigenous issues. Bell’s postcolonial art practice and theory work with and against the telepathy and appropriation of white Australian artist Imants Tillers and Tillers’ reference to the quantum physics of Bell’s Theorem. Richard Bell writes his own Bell’s Theorem as a polemic against Tillers’ and white appropriation of indigenous art. Scratch an Aussie is a video performance in which Bell poses as black Freud dressed in period costume to conjure if not a black Freud then perhaps …

Sober and Lonely Institute of Contemporary Art (SLICA), Telepathic Pet Drawing Sessions

Lauren von Gogh and Robyn Cook are the (founding) members of the Sober & Lonely Institute of Contemporary Art (SLICA). They have facilitated telepathic sessions since 2008 and SLICA was officially founded as an institute of 1 April 2011. Von Gogh facilitated Telepathic Pet Drawing Sessions at Hackerspaces Soup in 2012, which was based on the scientific investigations of Karl Krall. Krall was a German horse trainer from the early 19th Century, who raised a gifted horse named Muhamed. Krall claimed Muhamed was able to perform mathematical calculations, to recognize musical harmony and dissonance, and, eventually, to communicate through thought with his trainers. For Telepathic

POSTED BY on Jan 1 under Image Gallery


CHAPTER 6. Mirror Neurons and the dispositifs of Social Neuroscience

Jane and Louise Wilson, Hypnotic Suggestion 505

Joan Jonas, Organic Honey’s Visual Telepathy

Lynn Hershman, Strange Culture

Gilbert and George, The Singing Sculpture

Marina Abramovic, Measuring the Magic of Mutual Gaze

 
 …

Jane and Louise Wilson, Hypnotic Suggestion 505

Jane and Louise Wilson collaborate to explore dyadic[1] perspectives and stereoscopic visions through photography, video and sculptural installation. They are best known for their split-screen film installations, which “in the hands of the twins the device structures instead a dangerous liaison of selves.”[2] The Wilson’s early performance work with the narcissistic telepathy of performance for video, highly reminiscent of Rosalind Krauss’ observation of rampant telepathy in early video art of the 1970s, and augmented with hypnosis and LSD, presented the twins as one artist rather than as collaborators. The twins refuse to be drawn out too directly on this question of telepathy within …

Joan Jonas, Organic Honey’s Visual Telepathy

Joan Jonas’ work Organic Honey’s Visual Telepathy is a central and obvious example of early video artists work with telepathy. Susan Rothenberg says of Jonas’ work “What I think she was doing was changing the world of sensory perception. You went to a Jonas [sic] work to see one of the excruciatingly odd minds of that time [late 60s and early 70s] make a window into her world, that would in a few hours make a window in yours.” [1] Jonas mirrored herself, the surroundings and the audience. She used mirrors, masks and the monitor to create a double reality for the audience. Live activity …

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