Art As Psi, Radionic Art and A Question of Organizing Principles.
The background in my line of inquiry began when considering ‘how do we create?” As someone who has gone through formal education as both a fine artist and graphic designer, it seems like there’s a point where formal training stops and creating the work falls to a different mechanism.
When trying to explain it as a designer educator, I was at a
loss for words that would do the mechanism of creation justice. The best I
could do to explain to my students was to keep working and develop a sense for
the right creative decisions. That by practicing their art they would refine
their instinctual application of the creative decision-making process, which is
continuous and ongoing in the creation of any work of art or design.
What is the precise mechanism or mechanisms involved though?
While it’s not been well-documented or studied, personal research has
identified several key factors.
The next factor is the advent of Gestalt psychology and the
study of the psychological mechanisms that organize visual perception. In
Rudolph Arnheim’s scholarly work Art and Visual Perception: A Psychology of
the Creative Eye, these rules are and the studies that lead to their
recognition are introduced and explained. Reading Arnheim’s work, one is struck
by how fundamental these principles are rooted in the human mind and how much
of our relationship to the world is governed by them.
Illustrations
of Gestalt Principles
However, in the arts
their study and application remain generally unpopular outside of specific
applications. Art training in the United States is less about the study and
application of principles than about positioning oneself to create work that
will sell. It’s also here that we see, with the decoupling of the appreciation
of fine art in society at large, that the motivation of creating art vs.
creating design becomes very different.
Art as a psi experience was
part of a larger construct, be it a religious or magical tradition that
involved degrees of knowledge and participation in ritual or thought related to
viewing the art. Fine art today frequently exists solely as a visual
manifestation of personal principles or thought of the artist. A lack of
education and sophistication among the viewers leaves most ill-equipped to
decipher meaning and the experience of art lies strictly in the realm of pure
visual experience for most modern viewers.
On the other hand, design serves commerce as it’s master and
is a much more calculated practice, where visual principles are employed to
create messaging both overt and implied with the goal of getting the viewers to
take a particular action, which is usually to buy something, or “convert” in
industry jargon. To this end, the visual principles of Gestalt psychology have
become widely taught and used in the field of user experience design.
This is important because it’s using artistic principles
with purpose. UX has developed by “light” and “dark” patterns with either aid
or manipulate the viewer that encounters them while interacting with a
purposefully created design. In this respect, they’re very similar to the works
discussed throughout the course that were intended to induce a psychological
state and/or psi effect in the viewer when interacting with them.
The final component for me in tying together both guidance
for creating art and developing a method for looking at outcomes came from
Duncan Laurie’s The Secret Art: A Brief History of Radionic Technology for
the Creative Individual. Laurie first proposes that the artistic decision-making
process is guided by a semiotic response that is essentially similar to what he
termed the “dowsing reflex” that is to say the point when the dowser’s rods
cross and what they’re seeking is found.
Laurie’s description of this sensation struck a chord with me. This is essentially what I was attempting to articulate to my students, where I was referring to this as the honing of instinct to make the decision, I see as a honing of being able to be receptive to this artistic equivalent to finding something via dowsing. Furthermore, Laurie’s book and artworks go past just using a psi tool to make art but turning the art itself into a tool to achieve a direct effect in the viewer using radionic technology.
Laurie’s work as a sculptor reference what he terms the
“cupules” – carved indentations arranged in patterns that are highly
reminiscent of the neolithic works studied by Dr. von Petzinger. Dots form the
basic structure of the language of his works, referencing the dial
configurations of radionics devices. In discussing his sculptures, he talks
about developing a symbolic language
“We have
crossed the line from radionics as a historical inventory of ready made ideas
into our own world. Some type of internal logic presents itself as the designs
materialize on the computer. They do not feel artificially thought out but
rather emerge from another awareness into our hands. They sit on the cubes
well, and I begin to wonder if these could be sculptural radionic devices?”
Laurie is bring together the early works of neolithic
humans, using the earliest symbols for representing abstract thought and
concepts, governed by the psychological laws of visual perception studied by
Arnheim and incorporating them into functional radionics devices that provide a
healing effect to the viewer – literally art as psi.
In my research, I’ve become aware that there is a great deal
of debate regarding whether downers are receiving information from without
(their belief) or within, as is believed by many psi researchers and
parapsychologists. For the purposes of this brief discussion, I find the
delineation of secondary concerned to the demonstratable effects of the
technique employed in Laurie’s works. Clearly this is an avenue for continued research,
but I feel it’s academic to the creative practitioner.
His work gives the practitioner a replicable formula.
Starting with your intention, begin creating utilizing symbolic imagery that
elementally embodies the earliest visualizations of abstract thought. Organizing
your symbols with the principles of Gestalt you can psychologically prime the
viewer into a receptive state for the actual healing energy you’ve created your
art to emit.
Radionic Cube 44 — 8″ x 8″ x 8″ — Granite — 2014
References:
Von Petzinger, Genevieve (2016) The First Signs:
Unlocking the Mysteries of the World's Oldest Symbols. Atria Books
Arnheim, Rudolph (1954) Art and Visual Perception, Second
Edition: A Psychology of the Creative Eye. University of California Press
Laurie, Duncan (2009) The Secret Art: A Brief History of
Radionic Technology for the Creative Individual. Anomalist Books LLC
https://www.interaction-design.org/literature/topics/gestalt-principles
https://www.duncanlaurie.com/sculpture
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