engage2012 - artist led city project:

engage 2012 - artist led city project:
The artists leave their homes, where reactions and interactions are often familiar and defined.
They come together in a foreign city, where they themselves are the others, simultaneously being in the city,
as well as apart from it due to their position as foreigners.

Showing posts with label josefin rasmuson. Show all posts
Showing posts with label josefin rasmuson. Show all posts

Thursday, 23 February 2012

MORPHIC RESONANCE AND MORPHIC FIELDS

from http://www.sheldrake.org/Articles&Papers/papers/morphic/morphic_intro.html
2012-02-23

An Introduction  by Rupert Sheldrake 


In the hypothesis of formative causation, discussed in detail in my books A NEW SCIENCE OF LIFE and THE PRESENCE OF THE PAST, I propose that memory is inherent in nature. Most of the so-called laws of nature are more like habits.

My interest in evolutionary habits arose when I was engaged in research in developmental biology, and was reinforced by reading Charles Darwin, for whom the habits of organisms were of central importance. As Francis Huxley has pointed out, Darwin’s most famous book could more appropriately have been entitled The Origin of Habits.

Morphic fields in biology
Over the course of fifteen years of research on plant development, I came to the conclusion that for understanding the development of plants, their morphogenesis, genes and gene products are not enough. Morphogenesis also depends on organizing fields. The same arguments apply to the development of animals. Since the 1920s many developmental biologists have proposed that biological organization depends on fields, variously called biological fields, or developmental fields, or positional fields, or morphogenetic fields.

All cells come from other cells, and all cells inherit fields of organization. Genes are part of this organization. They play an essential role. But they do not explain the organization itself. Why not?

Thanks to molecular biology, we know what genes do. They enable organisms to make particular proteins. Other genes are involved in the control of protein synthesis. Identifiable genes are switched on and particular proteins made at the beginning of new developmental processes. Some of these developmental switch genes, like the Hox genes in fruit flies, worms, fish and mammals, are very similar. In evolutionary terms, they are highly conserved. But switching on genes such as these cannot in itself determine form, otherwise fruit flies would not look different from us.

Many organisms live as free cells, including many yeasts, bacteria and amoebas. Some form complex mineral skeletons, as in diatoms and radiolarians, spectacularly pictured in the nineteenth century by Ernst Haeckel. Just making the right proteins at the right times cannot explain the complex skeletons of such structures without many other forces coming into play, including the organizing activity of cell membranes and microtubules.

Ernst Haeckel Tafel_06
Most developmental biologists accept the need for a holistic or integrative conception of living organization. Otherwise biology will go on floundering, even drowning, in oceans of data, as yet more genomes are sequenced, genes are cloned and proteins are characterized.

I suggest that morphogenetic fields work by imposing patterns on otherwise random or indeterminate patterns of activity. For example they cause microtubules to crystallize in one part of the cell rather than another, even though the subunits from which they are made are present throughout the cell.

Morphogenetic fields are not fixed forever, but evolve. The fields of Afghan hounds and poodles have become different from those of their common ancestors, wolves. How are these fields inherited? I propose that that they are transmitted from past members of the species through a kind of non-local resonance, called morphic resonance.

The fields organizing the activity of the nervous system are likewise inherited through morphic resonance, conveying a collective, instinctive memory. Each individual both draws upon and contributes to the collective memory of the species. This means that new patterns of behaviour can spread more rapidly than would otherwise be possible. For example, if rats of a particular breed learn a new trick in Harvard, then rats of that breed should be able to learn the same trick faster all over the world, say in Edinburgh and Melbourne. There is already evidence from laboratory experiments (discussed in A NEW SCIENCE OF LIFE) that this actually happens.

The resonance of a brain with its own past states also helps to explain the memories of individual animals and humans. There is no need for all memories to be “stored” inside the brain.

Social groups are likewise organized by fields, as in schools of fish and flocks of birds. Human societies have memories that are transmitted through the culture of the group, and are most explicitly communicated through the ritual re-enactment of a founding story or myth, as in the Jewish Passover celebration, the Christian Holy Communion and the American thanksgiving dinner, through which the past become present through a kind of resonance with those who have performed the same rituals before.

The memory of nature
From the point of view of the hypothesis of morphic resonance, there is no need to suppose that all the laws of nature sprang into being fully formed at the moment of the Big Bang, like a kind of cosmic Napoleonic code, or that they exist in a metaphysical realm beyond time and space.

Before the general acceptance of the Big Bang theory in the 1960s, eternal laws seemed to make sense. The universe itself was thought to be eternal and evolution was confined to the biological realm. But we now live in a radically evolutionary universe.

If we want to stick to the idea of natural laws, we could say that as nature itself evolves, the laws of nature also evolve, just as human laws evolve over time. But then how would natural laws be remembered or enforced? The law metaphor is embarrassingly anthropomorphic. Habits are less human-centred. Many kinds of organisms have habits, but only humans have laws. The habits of nature depend on non-local similarity reinforcement. Through morphic resonance, the patterns of activity in self-organizing systems are influenced by similar patterns in the past, giving each species and each kind of self-organizing system a collective memory.

I believe that the natural selection of habits will play an essential part in any integrated theory of evolution, including not just biological evolution, but also physical, chemical, cosmic, social, mental and cultural evolution (as discussed in THE PRESENCE OF THE PAST ).

Habits are subject to natural selection; and the more often they are repeated, the more probable they become, other things being equal. Animals inherit the successful habits of their species as instincts. We inherit bodily, emotional, mental and cultural habits, including the habits of our languages.

Fields of the mind
Morphic fields underlie our mental activity and our perceptions, and lead to a new theory of vision, as discussed in THE SENSE OF BEING STARED AT. The existence of these fields is experimentally testable through the sense of being stared at itself. There is already much evidence that this sense really exists Papers on Staring

You can take part in a staring experiment yourself through this web site. Staring Experiments

The morphic fields of social groups connect together members of the group even when they are many miles apart, and provide channels of communication through which organisms can stay in touch at a distance. They help provide an explanation for telepathy. There is now good evidence that many species of animals are telepathic, and telepathy seems to be a normal means of animal communication, as discussed in my book DOGS THAT KNOW WHEN THEIR OWNERS ARE COMING HOME. Telepathy is normal not paranormal, natural not supernatural, and is also common between people, especially people who know each other well.

In the modern world, the commonest kind of human telepathy occurs in connection with telephone calls. More than 80% of the population say they have thought of someone for no apparent reason, who then called; or that they have known who was calling before picking up the phone in a way that seems telepathic. Controlled experiments on telephone telepathy have given repeatable positive results that are highly significant statistically, as summarized in THE SENSE OF BEING STARED AT and described in detailed technical papers which you can read on this web site. Papers on Telepathy Telepathy also occurs in connection with emails, and anyone who is interested can now test how telepathic they are in the online telepathy test. Experiments Online

The morphic fields of mental activity are not confined to the insides of our heads. They extend far beyond our brain though intention and attention. We are already familiar with the idea of fields extending beyond the material objects in which they are rooted: for example magnetic fields extend beyond the surfaces of magnets; the earth’s gravitational field extends far beyond the surface of the earth, keeping the moon in its orbit; and the fields of a cell phone stretch out far beyond the phone itself. Likewise the fields of our minds extend far beyond our brains.

February 2005

Sunday, 25 December 2011

Tuesday, 13 December 2011

Artist Bio - Josefin Rasmuson

Josefin Rasmuson

Josefin Rasmuson (SWE) is a Stockholm-based artist whose work is centered around the idea and imagery of the urban landscape.
In her drawings she explores city locations, from empty corridors and office spaces to deserted bus stops and crossings, showing a cold and sometimes hostile environment. In the drawings Untitled, Stairway in the metro (2010-11) this sense of emptiness remains, despite the fact that the depicted space is visibly crowded. The subject of these drawings is the movement and mass of people at metro stations during rush hour. Here it is precisely the contrast between void and the occupied space, the expressionlessness of the single individuals that becomes central to the experience of emptiness, loneliness and distance. The drawings are executed with black or blue ballpoint pen, a medium that - with its sheer banality - serves to further emphasize the uncanny undertone in the apparently everyday motives.

Josefin Rasmuson has studied at the Gerrit Rietveld Academie in Amsterdam 2006-2010, and has since then been involved in a variety of different projects. Her work has been exhibited over the past year in The Black Box (NL), This is Not a Gateway (UK), The Circle Gallery (NL) and most recently in Reciclart (BE). She has also participated in various initiatives such as The Calendrier Publication (launch 24 nov 2011, Brussels) and Aerial Blue, organized by the Good Hatchery, Ireland. Drawings from the series Untitled Stairway in the Metro will be shown at Liljevachs Vårsalong, Stockholm, SWE, 27 Jan-25 March 2012.

Friday, 2 December 2011

Juan Delgado- Le Reve de Newton

Hello friends, 

I just had to share this video with you, I find it so beautiful. 
Its by Juan Delgado, a friend artist who I met during This is Not a Gateway in London.

Josefin r

Tuesday, 29 November 2011

Text for AVATARVARO, Premiere 8 dec, Stockholm

(this text will originally be published in SWE, here food for thought)


To be the body without the mind.
To reflect with passive distance on the actions performed by the body, as if they were not one's own.
To experience proximity to another person freed from the isolation of the “I”.

In the meeting of avatars there is complicity and trust, a twinkle of an eye, a silent undertone.
Whilst the operators'  isolated “I”s desperately attempt to overcome the undefinable divide between them the avatars are already there, they are already mobilizing.
They have found that they have something in common, in the midst of freedom from power and responsibility. .
And perhaps this experience of community is about (for once) ending up  on the "right" side in the great simplified Revolutionary drama - without hypocracy or divided identities.

In all of this, the hand-over becomes a happy one, like a romantic form of apathy.
Why do we want to hand ourselves over like this?
Is it not enough to be spectators in the society and time we are living in, do we also want to be spectators to our own lives, to the actions performed by our own bodies? Maybe it is the expression of a generations impotence in relation to the global problems and power-structures that define their lives. Why are we supposed to take responsibility of something we have no power over, of problems we haven't created?

Or perhaps it isn't a time-specific behavior, rather the opposite; it is this readiness to mental slavery and freedom of responsibility desired by our parents and their parents that have shaped the power-structures that we are now living with.
In that case, we should rather free ourselves from romantic notions from apathy.
Its all the same in the end though - we decide guiltily and throw ourselves into a liberation from all responsibility.


There is an image of an installation by Anish Kapoor - in the middle of the floor in a completely white room is a perfectly black and flat circle. (See Descent into Limbo, 1992) (1).
Except its not a circle but a hole, a hole that seems to open beyond the room, beyond the frontier constituted by the floor, wall or installation.
On the other side of the hole is the nothingness, a great dark dissolution of the "I". The void.
It is horrifying and seductive, and inviting.

The Operator has the power through agreement, and we can assume that there is also an agreement for how this power may be used.
Thereby we have crossed to the other side of the frontier, we have handed ourselves over and the discussion has shifted towards what comes next. 
Marina Abramovic made a performance in 1974, Rythm 0, in which she handed over the power to the audience. She had placed 72 objects on a table, amongst others a rose, honey,
a feather, a whip a gun and a bullet. The audience was invited to use these tools on the artist, as they chose, for pain or pleasure.
The session lasted for 6 hours and when the time was up she walked of the stage bleeding.
She is reported to have said "What I learned was that ...if you leave it up to the audience, they can kill you"(2).

The audience that caresses with a feather or loads a bullet into the gun hides behind both Operator and Avatar, and the relation between them is least to say ambivalent.
Both can view what is happening with distance; one because s-he does not make the decisions that rule his/her actions,
and the other because s-he always maintains the physical distance to any potential consequences that may come as result of these actions.
What comes next. Through the darkness.
Perhaps the only insight is that there is only more darkness, and if we hand over the power it will further or later be used against us.
Or perhaps - apart from the various monsters of humanity -  there are caverns deep down in the dark, in the shapeless, blunt betweenspace where only the Avatars can fit.
And perhaps that is the strength of the avatars. Beyond the competition of the "I"s they are gathering an underground army. ;-))

(1) Descent into Limbo, 1992, Museum de Pont, Tilburg, NL, Groen, Rianne,
http://riannegroen.blogspot.com/2011/01/into-unknown-void-in-contemporary-art.html
(2) A Daneri, et al., (eds.), Marina Abramović, (Charta, 2002),  p 29


www. turteatern.se/avatarvaro/


Josefin r

Thursday, 10 November 2011

PSYCHOSIS part I



I saw the exhibition Psychosis Part I at Färgfabriken in Stockholm. I thought these two works perhaps esp. interesting to Emma. Also these are works by artists in the nextdoor countries to Romania.  I really liked the one below by Chto Delat?
Another note that I found personally interesting has to do with to contrast between this exhibition 
and the one next door; works from the Master Students at Konstfack textile dep. The first was so incredibly dense, full of words, reference, overlapping sounds and importance, the second was whitish, silent, still, and as if hanging suspended mid air in no-time space. 
//J


Friday, 21 October 2011

Im sorry for this unmotivated entry but I thought we needed a picture to lively up this page a little. 
This i also an image I intend to work with in the close future. Its taken at our old squat in Amsterdam.