web analytics

Articles by admin:

Sigmar Polke, Telepathische Sitzung (Telepathic Session) works

Sigmar Polke explored telepathy, psychoactive substances and visions, ESP, occult and phantasmagoria for over thirty years. He created a number of artworks that manifested a telepathic engagement with earlier artists who shared a deep engagement with the uncanny and the occult, such as Francisco Goya and William Blake. “In 1968, the year of protests across Europe and the United States, Polke designed ways of communicating with dead artists. Both Telepathic Session I (Max Klinger–Sigmar Polke) (Telepathische Sitzung I [Max Klinger–Sigmar Polke]) and Telepathic Session II (William Blake–Sigmar Polke) (Telepathische Sitzung II [William Blake– Sigmar Polke]) consist of two canvases of the same size labeled Sender …

This post is in: CHAPTER 1: Art Historical Sections on ESP

Imants Tillers, Conversations with the Bride

Imants Tillers’ 1982 essay “Locality Fails” deals with the cultural and political relevance of a conceptual shift in the forces of quantum phenomena. “Since Bell’s Theorem proves that the principle of local causes fails it is of crucial relevance to the present discussion of a ‘local’ content in Australian art, ‘regionalism’ and ‘aboriginality.’”[1] “Locality Fails” discusses the telepathy of Abramoviç/Ulay’s global project begun in Australia and performed all over the world, Gold Found by the Artists, later renamed Nightsea Crossing, 1981-1987. In Tillers’ artist catalogue Telepathic Music, Graham Coulter-Smith summarises Tillers’ obsession with evoking the quantum physics aspect of telepathy in …

This post is in: CHAPTER 1: Art Historical Sections on ESP

Susan Hiller, The Sisters of Menon

The Sisters of Menon, 1972-1979, was made while Hiller was working on her collaborative telepathy experiment Draw Together. While working on this project where she attempted to send images for friends all over the world to draw, Hiller was surprised to find herself the agent of automatic writing. This work was then to form this body of work known as The Sisters of Menon, which communicated powerful collective female solidarity of ‘sisters’ from Thebes.[1] The women’s movement of the 70s that Hiller was a part of carried an interest in Ancient Greek oracular women. When her partner David Coxhead tried to …

This post is in: CHAPTER 1: Art Historical Sections on ESP

Jonathon Monk, Translation Piece

Monk’s Translation Piece, 2002, in the same exhibition, involved Chinese whispers-style translations of the catalogue text statement of which Barry’s Telepathic Piece is comprised: ‘During the exhibition I will try to communicate telepathically a work of art, the nature of which is a series of thoughts that are not applicable to language or image’ so that the final confused statement is ‘in this image the way of expression of reactions of the soul attempts to come close to a work of art’.[1] In an interview with Monk’s curator for this exhibition, Raimundas Malasauskas, Barry discusses art as a form of mysterious vibration and …

This post is in: CHAPTER 1: Art Historical Sections on ESP

Second Front, Tower of Babelfish

Second Front includes a number of artists working with the virtual telepathy of Second Life, including Scott Kildall aka Great Escape and Jeremy Owen Turner aka Wirxli Flimflam – friends who together collaborated to re-perform a work by Abramoviç/Ulay and other key examples of performance art. In addition to the telepathy of appropriative reperformance, an example of Second Front telepathy work is a group performance they undertook with the spirits of four dead performance artists in Tower of Babelfish (2007): Tristan Tzara, Ana Mendieta, Charlotte Moorman and Rudolf Schwarzkogler. Fluxus Conceptual artist Larry Miller, who works with telepathy and hypnosis in his real world performances, …

This post is in: CHAPTER 1: Art Historical Sections on ESP

Marina Abramovic, Seven Easy Pieces

Seven Easy Pieces involved Marina Abramovic’s 2005 reperformance of six key performance works: two of her own works Lips of Thomas (1975) together with her new work and Entering the Otherside (2005) and earlier works by other artists: Gina Paine’s The Conditioning (1973), Joseph Beuy’s How to Explain Pictures to a Dead Hare (1965), Valie Export’s Action Pants: Genital Panic (1969), Vito Acconci’s Seedbed, (1972) and Bruce Naumann’s Body Pressure (1974). They were each performed for seven hours each, and approach the works as if they were like a music score. This work directly addresses the problem of conservation strategies for performance and time-based …

This post is in: CHAPTER 1: Art Historical Sections on ESP

The Telepathy Project, Dreaming the Collection

The Telepathy Project consists of Veronica Kent and Sean Peoples who created the work Dreaming the Collection using artworks from the National Gallery of Victoria. The artwork consisted of two parts. It was a selection of paintings and prints from the NGV Collection that featured images of people sleeping, with performances made of characters in the artworks. A postcard was also provided that invited viewers to record their dreams and send it back so that the these dreams could also be performed. The postcard showed Kent and Peoples asleep on the floor of the NGV’s Federation Square venue below the installation of paintings and prints …

This post is in: CHAPTER 1: Art Historical Sections on ESP

Jacquelene Drinkall, Psychic Scott on the Phone to Duchamp

Drinkall’s installation Psychic Scott on the Phone to Duchamp comprised of an audio recording of a professional psychic and feral scallywag called Scott contacting the late artist Marcel Duchamp that was piped into analogue telephone headsets dangling down from an oversized table. The oversized table was a replica of a smaller table that may also be shown with the larger table, installed with a device that makes the table top rise and fall with reference to table-tapping. Drinkall also references table-tapping and spooky animation of tables in her work Schizophrenic Tabernable Table Tapping, which incorporates the brainwave of a coma patient into the top …

This post is in: CHAPTER 1: Art Historical Sections on ESP

Gianni Motti, Paradigm Shifts

For the 100th anniversary of Dada, Gianni Motti developed a Zurich-centred but global telepathic performance called Paradigm Shifts as part of the celebratory program of events hosted by Cabaret Voltaire, the birthplace of Dada, called Obsession Dada. The performance action consisted of a telepathic séance with the audience invited to participate. The telepathic performers brought a unified mental attention to and attempt to influence or destabilise their governing organisations. The artist also distributed the dispositif of a ‘firewall’ to prevent interference of electro-magnetic waves. Motti included invitations to anyone wished to be part of this extra-sensorial experience to participate at Cabaret Voltaire or from …

This post is in: CHAPTER 1: Art Historical Sections on ESP

Marcel Duchamp, The Bride Stripped Bare by her Bachelors, Even

Marcel Duchamp’s Boîte-en-valise (Box in a Valise) brings together a review of his oeuvre including a number of works that deal with telepathy such as The Bride Stripped Bare by her Bachelors, Even (also known as The Large Glass). Linda Dalrymple Henderson has shown how Large Glass works with telepathy and how telepathy is an integral part of his aesthetics influenced by Freudian psychoanalysis, non-Euclidean space and irrational automation, terrains ripe with telepathic phenomena and potential. Henderson details telepathy in Duchamp’s Large Glass through his work with imagery of 1900s electrical devices to parody gender oppositions through mechanical figures of the bride and her bachelors. …

This post is in: CHAPTER 1: Art Historical Sections on ESP

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 …

This post is in: CHAPTER 2: Extro-science fiction and hyperstition

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 …

This post is in: CHAPTER 2: Extro-science fiction and hyperstition

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]

This post is in: CHAPTER 2: Extro-science fiction and hyperstition

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 …

This post is in: CHAPTER 2: Extro-science fiction and hyperstition

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 …

This post is in: CHAPTER 2: Extro-science fiction and hyperstition

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 …

This post is in: CHAPTER 2: Extro-science fiction and hyperstition

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 …

This post is in: CHAPTER 3: Neuro-Modulating the Neural Material Substrate

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 …

This post is in: CHAPTER 3: Neuro-Modulating the Neural Material Substrate

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 …

This post is in: CHAPTER 3: Neuro-Modulating the Neural Material Substrate

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 …

This post is in: CHAPTER 3: Neuro-Modulating the Neural Material Substrate

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. …

This post is in: CHAPTER 3: Neuro-Modulating the Neural Material Substrate

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 …

This post is in: CHAPTER 3: Neuro-Modulating the Neural Material Substrate

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 …

This post is in: CHAPTER 3: Neuro-Modulating the Neural Material Substrate

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 …

This post is in: CHAPTER 3: Neuro-Modulating the Neural Material Substrate

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 …

This post is in: CHAPTER 3: Neuro-Modulating the Neural Material Substrate

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 …

This post is in: CHAPTER 4: Material Engagement and the World Brain Continuum

Latest Articles from the Journal of Neuro-Aesthetic Theory