The Conscious Movie-of-the-Month for July 2019 is Avatar (2009).
During the month of July you are invited to watch the movie Avatar on your own. If you have already seen it, we recommend watching it again with the intent of seeing any patterns of consciousness you had not seen before, including the patterns mentioned below. If you do not own a copy, you can stream it online or get a free rental from your local library. You are also invited to share your thoughts, reflections and musings about the movie in our group's online discussion forum.
At the end of the month, we will have a video conference call where we will explore the movie from a conscious, integral and transpersonal perspective, and you will have the opportunity to share more of your personal reflections and ask any questions.
Recommended by one of the members of our group, Avatar feels like a perfect follow up to our exploration last month of What the Bleep in many ways, including that both these movies were able to tap into the zeitgeist, both explored transformations of consciousness and its relationship to physical reality in their own unique way, and both were created on the cusp of an evolution in film technology. Exploring Avatar after What the Bleep is also a great way for us to get into the difference between tapping into a certain cultural stream (What the Bleep) and tapping into the full collective field (Avatar).
On its own, Avatar is also the perfect film for us to explore how to integrate multiple structures of consciousness in a moving image work, which it does masterfully. It also gives us the opportunity to explore how and why this pattern appears in the most financially successful films of all times and how this approach can enable us to potentially affect more hearts and minds. Plus, even though Avatar was released during the Christmas season...it is also makes a pretty good summer movie adventure.
Several people who have seen my art work recently have asked about my creative process. So, for those of you who are interested: I use an integral-transpersonal creative approach, going into deep meditation and contemplation on the multiple levels of being and becoming of the moment and then letting my hand move from that state of being. I feel guided at every step. First I digitally draw patterns as the creative flow moves me, and then when I get a sense of completion for that phase I take the drawing patterns and play with them with different filters and tools, again letting myself be guided by whatever is seeking to move through me. Finally I reach a point of feeling a sense of completion for the whole creative work. At this point, if I have not already had a title revealed to me during the process, I seek to receive the title with an inner guidance practice I have developed from my years of research into the experience of inner guidance. Finally, when it feels like the right moment, I send the piece out into the cybersphere with a meditation/prayer asking that it be a blessing onto others and the world.
Here is a short Art-in-Motion video I created that shows the different stages of a recent work I created:
Manifestation Gate - Art-in-Motion Video (MAK)
Currently and for the last few years I have been creating only through the digital art medium. This arose out of the need to not produce any directly physical works since I was nomadic and could not carry or store them anywhere.
For the last year and a half I have tried to create an art work every single day and share it, no matter how I personally feel about its aesthetic value. This creative process is therapeutic for me, and hopefully for others as well, as I attempt to capture and convey various states and structures of consciousness and patterns of being and becoming. It is also a political act for me in that I attempt to capture the inner and outer zeitgeist of myself and the world at any given moment. Because of this orientation I feel as though I need to put these works out as they are being channeled through me, no matter what I think of the final piece. This process has been affirmed to me by my discovery that the pieces that I feel the most profoundly affected by are not always the ones that most deeply affect others, and vice versa. I really do feel as if the creative muse is in charge here and my job is merely to be the channel and let go of the rest.
Compassion Gate (MAK)
For those who are interested in the technologies I am using: I am currently using an old iPad and stylus. I start with one of two drawing apps, ArtStudio and Sketchbook, where I channel the patterns coming through me using my stylus and the apps' various brushes and tools. Then I process the image further in the Paper Artist app. I then use Apple Photos app to view the variations I created for a piece and seek the guidance for which piece is the “one.” When the choice is clear I bring that image into the Instagram app and do some final adjustments to the work before sending it out to the world.
For those who want to check out more of my recent works of art you can find them on my Tumblr blog or Instagram feed.
If you are touched by my work and would like a print of one of my pieces check out my Artpal page for print options. If you cannot find the piece you want on Artpal, you can contact me directly at arcofconsciousness@gmail.com and I will make it available for purchase on Artpal for you.
And finally I would like to express my deep gratitude for Mr. Lietso, my 7th grade science teacher, who threatened to haunt me after he died if I did not live my life as an artist; to Jill Mellick, who taught me how to use art for personal and collective transformation; to James Fadiman for teaching me about transpersonal and transformative storytelling; to Ken Wilber and Michael Schwartz for inspiring me to explore an integral approach to art and media; to fellow integral artist Jimmy Lusero for re-awakening the artist in me after years of creative slumber; to dear friends Jonathan Steigman and William Kueppers, and my amazing sister Mardi who gave me shelter and helped me through these challenging yet creative times; and to all my friends, family members, colleagues and strangers who bore witness to my journey and gave me their wondrous words, likes and emoji’s in affirmation of my art work along the way.
The Integral Cinema Project announces the ART-IN-MOTION SERIES, a collection of moving image meditations that attempt to use advanced audiovisual and cinematic entrainment technologies along with animated abstract art to explore the human perceptual field. The intention behind these works is to potentially induce shifts in our awareness of our own perceptual field and bring the normally unconscious perceptual construct-forming system of the human mind to conscious awareness.
APPROACH
ICP cinematic artist and researcher Mark Allan Kaplan attempts to morph one of his artworks into a transformative cinematic meditation using an adapted form of the "Cine-Sculpture" approach developed by ICP research associate James Lusero and combines it with Integral Cinematic Metadesign techniques to synchronize visual, auditory, textual and temporal expressive forms with an underlying transformative perceptual and conceptual field.
We would like to give special thanks to the folks at iAwake Technologies for their generous donation of the audio entrainment track. To learn more about iAwake Technologies visit them at: http://www.iawaketechnologies.com
I have been asked by several people what the origin and intentions are behind my most recent works of art.
Both the origins and intentions are multi-layered. In terms of origin, the deep origin of my current and past creative work is and always has been connected to my becoming a stutterer as a young child and using art as a means of communicating without words. In essence, my creative work became my voice.
The more specific "origin" of my more recent stream of creative works began back in April 2017 when I decided to do an experiment of creating a work of art every day for 45 days. The goal was to see if I could deepen my self-owning of identifying myself as "being an artist"...something that I have struggled with for most of my life. The 45-day time-frame was from the book Habits of a Happy Brain by Loretta Graziano Breuning. In the book Breuning explores how it takes 45 days of repeating a pattern (activity, behavior pattern, for instance) for it to begin to feel natural due to the laying down of the neural pathways for the pattern within the brain.
As part of the experiment I also recorded a video journal every day where I explored and reflected on my process. I used video journaling to see if I could learn to feel more natural in front of the camera. As a stutterer I have always had some degree of discomfort using my voice...especially on camera.
During my experiment I created at least one drawing per day, these being meditative mandalas and abstract forms arising from different states of consciousness. I also found myself animating some of my drawings, showing the various stages of creation and setting them to meditative music and sound in what I call art-in-motion videos. Somehow my process evolved to include a deepening, expansion and integration of my varied research interests into a daily "lived inquiry" practice. These research interests include exploring transformative approaches to art and media, the experience of inner guidance and the nature of consciousness itself.
My experiment was so successful for me that I kept doing a work of art every day long after the 45 day period (until my tablet died in October 2017), for a total of 188 days. During the process I found that doing a creative work every day fed my soul, gave me boundless joy and energy, and became a form of therapy and healing for me. The work evolved into a deep integrally-informed, psycho-spiritual-political creative practice that did indeed deepen my self-identity as an artist. My video journaling appeared to expand my process and helped me feel more comfortable and natural using my verbal "voice" both on- and off-camera. The integration of these practices with my research interests created a vibrant daily existence that filled my being with purpose and joy.
As part of my new creative lived-inquiry practice I would start by meditating and trying to connect with the evolutionary impulse or what Jean Gebser referred to as the inner commission that guides our individual and collective evolution. I would then attempt to follow that guidance through my daily explorations of art making and lived inquiry. Through this work I have come to deeply feel and believe that every problem in our lives and the world is a problem of consciousness and our individual and collective development. Because of this my deep intention for my creative and lived inquiry work has become the healing and elevation of my own consciousness and that of the world.
During my experiment, I viscerally discovered three distinct creative guided-inquiry states where I became immersed in what seemed to be either a stream-, field- or arc-of-consciousness and these appeared to be connected to my experience of being, belonging and becoming…
BEING or beingness is our Self in the moment; it is who we are when we are being fully present, fully aware and fully who we are in the NOW, in the fluid NOW, for the NOW is any given moment within the STREAM of individual and collective consciousness.
BELONGING is our beingness in relation to the beingness of others and the world. It is our awareness of our interconnectedness with that which appears to be outside of ourselves in various relational and spatial FIELDs of consciousness.
BECOMING is our evolutionary journey; it is our awareness of the whole stream and its place within the ocean of streams. It is where we have been, where we are, and where we are going along our own individual arc of consciousness and within the greater collective evolutionary ARC of humanity.
As part of this creative guided-inquiry evolutionary process I am attempting to dive into, capture and share with myself and the receiver experiences of the different streams-, fields- and arcs-of-consciousness which in turn can potentially offer us tastes of beingness, belonging and becoming...and hopefully help me the creator and you the receiver to evolve to higher, deeper and more expansive ways of being, belonging, and becoming…
And for those who want to check out all 188 works of art you can find them on my Tumblr blog or Instagram feed.
If you are touched by my work and would like a print of one of my pieces check out my Artpal page for print options. If you cannot find the piece you want on Artpal, you can contact me directly at arcofconsciousness@gmail.com and I will make it available for purchase on Artpal for you.
And finally I would like to express my deep gratitude for Mr. Lietso, my 7th grade science teacher, who threatened to haunt me after he died if I did not live my life as an artist; to Jill Mellick, who taught me how to use art for personal and collective transformation; to James Fadiman for teaching me about transpersonal and transformative storytelling; to Ken Wilber and Michael Schwartz for inspiring me to explore an integral approach to art and media; to fellow integral artist Jimmy Lusero for re-awakening the artist in me after years of creative slumber; to dear friend Jonathan Steigman and my amazing sister Mardi who gave me shelter while I did this experiment; and to all my friends, family members, colleagues and strangers who bore witness to my journey and gave me their wondrous words, likes and emoji’s of affirmation along the way.
Through the years I have been creatively inspired by many things: a beautiful sunset, a tender human moment, a work of art, a song on the radio, a passing comment by a stranger or a passage in a book or newspaper. During my sophomore year of film school I received the creative inspiration for my film Gun, while I was listening to the Beatles' Happiness is a Warm Gun on the stereo and reading a newspaper article about handgun violence. Suddenly, I saw a series of images in my mind's eye, which then unfolded into a series of stories. The rest of the story solidified when I rented a Magnum 44 prop gun and held it in my hand. I felt a powerful force inherent in the gun, which further inspired me to attempt to capture this presence on film. Throughout the entire process of making the film I felt guided by a creative spirit, receiving inspiration at each step along the way.
The word inspiration can be used to describe many things, including the drawing in of breath; a sudden brilliant, creative or timely idea; a creative influence or force that stimulates thoughts and/or ideas; or a divine influence or force that leads to wisdom, understanding, and/or revelation. Besides being inspired to create, I have also had the experience of receiving inspiration in the form of seemingly divine influence and guidance from the creative expression of others.
Rembrandt’s The Night Watch
One of these creative divine inspiration experiences happened to me at the Rijksmuseum in Amsterdam. I remember walking into the room where Rembrandt’s The Night Watch was hung. I froze in my tracks and softly gasped (inspired). The painting’s presence was so powerful that it felt as though I had entered the presence of some great force. The painting seemed alive, as though Rembrandt had captured the life energy of himself, the people he was painting and the presence of the divine, and fused it all into the paint and canvas. I sat in front of the paintings for hours, while it spoke to me through image, character, story, color and light about human struggle and divine yearnings within myself and within all of humanity. The messages I was receiving from the painting seemed to be answering some of the inner questions that had been on my mind just before I entered the museum. That night I lay in bed feeling a deep sense of gratitude for the gifts of the inspiration and guidance I had received at the foot of that giant wondrous canvas.
Art is contemplation.
It is the pleasure of the mind which searches into nature
and which there divines the spirit
of which Nature Herself is animated.
- Auguste Rodin
Months later, I had a similar inspirational guidance experience at the foot of Michelangelo’s David in Florence, Italy. Again, I felt a powerful presence in the work of art. Michelangelo and his David were alive in the stone. As I circled the towering figure, every angle revealed another emotional reality, from great courage to hidden fears. I spent the entire day with David; walking around him; sitting and gazing at him from different angles; and meandering through the gallery of Michelangelo’s other sculptures.
Michelangelo’s David and unfinished sculptures
At one point, I felt an inner prompting to go into the gallery by Michelangelo’s unfinished sculptures. I followed my inner guidance and found myself in the middle of an art class. The instructor was explaining to the students that Michelangelo believed that each piece of stone had an image within it waiting to be released and that the Divine revealed these images to him and his job was merely to release them from their stone encasements.
I saw the angel in the marble
and carved until I set him free.
- Michelangelo Buonarroti
The instructor went on to say that Michelangelo also felt that a work was complete when he had learned the lesson he needed to learn, so sometimes he would leave a piece physically unfinished because he was finished with it internally. This, he added was a blessing for humanity, because without these unfinished works we wouldn’t understand how he created his masterpieces. Somehow, this information was exactly what I needed to hear in that moment. The lecture combined with the visceral experience of the sculptures gave me guidance for my life as an artist and my journey of the spirit.
Drawing on paper has a tactile feel to it. Drawing on a mobile device like a large smartphone or tablet is tactile as well but in a completely different way for me.
When I draw on paper I have a feeling of connection to the objective physical world and a sense of being able to alter or augment it on an abstract or existential level by channeling an inner creative force through my physical form and onto another physical form...
When I draw on a mobile device I also have the sense that I am drawing onto a physical form but instead of feeling as though I am altering or augmenting the physical world, I have the sense that my work is heading into the ether or being transmitted onto some other plane of existence, as though the device is like an etch-a-sketch-like window to another dimension. The ability to share my images instantly to various social networks adds to this sensation of creating in a realm beyond form.
The integration of an Integral or aperspectival vision, or the perceptual lenses of quadrants, levels, lines, states, and types in Ken Wilber's AQAL model, into a creative work is what Wilber refers to as comprehensive art, and he differentiates this form of Integral Art from integrally-informed art, which is “any art produced by integral consciousness” (Wilber, 2003). Usually, comprehensive art refers to art that has been consciously created to reflect an integral perspective, but Wilber notes that the art of the cinema is more inherently comprehensive than other artistic mediums because it employs the multiple forms of expression of text, image, and sound (Wilber, 2003).
As an artist of many different mediums (film, drawing, text, photography) I can honestly say that on one level it feels like a miracle when a viewer understands my work in the way that I intended it. And there is often another miracle, when the viewer sees something in my work that I did not consciously intend, but when they speak their truth it rings true for me as well.
I have studied the language of my mediums and how each of their material elements communicate differently across cultures and societies; I have studied the psychology of how individuals perceive and view art; I have studied symbols, metaphors, and archetypes across cultures; and I have studied how different states and stages of development in the viewer and the work communicate with each other. I believe all of these are factors in how the artist communicates to the viewer.
Yet, there is also something else involved here; something I learned in the form of both direct experience and teachings from some of the masters of art I have studied with over the years...this something else is that the more a creative work comes from a deeply personal meaningful place in the artist, the more universal its meaning becomes. This is the great paradox of art and meaning; the more personal the work the more universal and the less personal the work the less universal. Actor and playwright Sam Sheppard said it beautifully when he spoke to my class at the AFI many years ago. He said that if an artist starts with a deeply human truth, one from their own experience or one from the life of another, then the work becomes universal because what is true for one human heart resonates with all other human hearts.
As a practitioner of art as an integral spiritual practice, I also see myself as a creative channel for the Divine. When I align myself with the Creative Source as the Divine Suchness, Thou and I AM, the Source speaks through me into the work and out to the viewer. From this perspective, in addition to my own personal meaning being expressed in and through the work, I believe there is a higher meaning being channeled through me and the work that I most often am not even conscious of. Sometimes I discover this meaning when a viewer shares what they received from the work; other times, years later, I discover this hidden meaning when viewing my work from a different place in my own life journey. In the end, each individual views the work from where they are at on their live journey and when a work of art is a channeled work; I believe it has the capacity to become a kind of magic mirror in which the viewer receives the message that is perfect for them at that particular moment on their life path.
From an Integral perspective, I would say that meaning in art is tetra-resonant, in that a work of art can have subjective, material, cultural, and/or social resonance. This resonance channels meaning between the work of art and the viewer, and one can gauge the general message of the art work through any and all of these resonance channels/dimensions. The more this meaning is rooted in a deep truth in any and all of these dimensions, the more universal the message becomes.
In the end, as an artist I never know for sure beforehand if my intended meaning will translate to others; I can only strive to speak the truth as I perceive and feel it and attempt to communicate it through as many resonance channels and dimensions as possible. I have found that I feel that I have communicated with the audience if I have touched them somehow, and I have come to feel that the reception of my intended meaning is not as important as the reception of the meaning that arises through the wondrous and miraculous process of channeling the creative force…
I have been researching what I call transformative creation-states for several years now. By this I mean the use of spiritual, transpersonal, and integral approaches for creative expression to induce altered states of consciousness in order to intentionally convert the creative act into a deeply transformative experience for both the artist and the viewer.
During my research in this area I have discerned several discreet transformative creation-states including creative inspiration-states, catharsis-states, visioning-states, witnessing-states, resonance-states, integration-states, and states of creative grace. I also observed and experienced various group creation states including creative group fields and I-Thou creation states in which members of the creative environment become the “sacred other.”
In addition, during this inquiry I also found a confluence of both structure and flow in the transformative creative process, manifesting within, around, and between any and all of these various transformative creation states. There also appears to be a process in which these two state typologies converge, leading to a transformative creative synthesis of structure and flow.
For example, in my own creative work (film, writing, drawing, etc.), I have found that I can approach the transformative-creative act from a pure flow approach (mindfulness/beingness approach) or from a pure structure approach (e.g., applying sacred rituals and practices or esoteric spiritual structures like Kabbalistic Divine-creation patterns). When I really click into either one of these two creation-state typologies a synthesis appears to occur: The flow-process produces previously hidden structures, and the structure-process leads to a kind of structure-flow experience in which Divine energy appears to move through the structures and, if I am open to it, takes me into a flow through the structures along with it. These experiments have led me to play with a synthesis approach, consciously marrying flow and structure in a sacred-creative dance.
Looking at this triangulation pattern through the masculine/feminine typology lens, the flow-process can be correlated to the feminine, the structure-process correlated to the masculine, and the synthesis of the two can be seen as a union of the deep masculine and feminine.
I was touring Europe and visited theGalleria dell'Accademiain Florence, Italy where Michelangelo's David is housed. There was an art class walking through the Galleria and I tagged along. The instructor was showing the students Michelangelo's unfinished sculptures and explaining to them that Michelangelo left many of these behind because he would stop working when he learned what he needed to learn. Sometimes this coincided with the manifest completion of the physical work, but often he would walk away from a work "unfinished" because something within himself told him it was time to move on. Then the instructor said something that blew my mind. He said that "strangely" enough, these unfinished works have been the most valuable to art historians because they have given us a complete and accurate map of just how Michelangelo worked. So in the end, his unfinished works were a profound gift to humanity. This really rocked my world. I sat there alone, looking at his unfinished works, for several hours, as my mind and soul deconstructed the notion of what it means to complete something.
In the fall of 1985 I visited the Rijksmuseum in Amsterdam. I remember walking into the room where Rembrandt’s “Nightwatch” was hung. I froze in my tracks and softly gasped (in-spired). The painting’s presence was so powerful that it felt as though I had entered the presence of some great force. The painting seemed alive, as though Rembrandt had captured the life energy of himself, the people he was painting and the presence of the divine, and fused it all into the paint and canvas. I sat in front of the painting for hours, while it spoke to me through image, character, story, color and light about human struggle and divine yearnings within myself and within all of humanity. The messages I was receiving from the painting seemed to be answering some of the inner questions that had been on my mind just before I entered the museum. That night I lay in bed feeling a deep sense of gratitude for the gifts of the inspiration and guidance I had received at the foot of that giant wondrous canvas.
