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    From notthisbody
    The Serious ARG
    Now playing SpaceCollective
    Where forward thinking terrestrials share ideas and information about the state of the species, their planet and the universe, living the lives of science fiction. Introduction
    Featuring Powers of Ten by Charles and Ray Eames, based on an idea by Kees Boeke.
    Wikipedia: Art is the process or product of deliberately arranging elements in a way that appeals to the senses or emotions. It encompasses a diverse range of human activities, creations, and modes of expression, including music and literature.

    In my most recent post I have been revisiting what I've called the Living Field, how I experience it and how I've worked with it and still do. Michel Bauwens of the P2P foundation extracted a "typology of fields" from that post and talked about it here.
    I don't know if it was the "Goldberg-Variations field" that Jascha Rohr tweeted about in response that got me thinking about art as a particular type of constellation of the living field or if it was the Wikipedia definition of art; it might also have been the dream I had this morning of creating a large scale systemic constellation in some unknown land and being struck by the beauty of what emerged...

    One of the most amazing characteristics of a living field is that it creates epiphanies, realizations or comprehensions of the (larger) essence or meaning of something. In systemic constellations this might be some explicit pattern in the system one inquires into that is surfacing as an "Eureka!" experience, a surprising insight into why or how things are as they are; in a circle that has managed to surrender into a highly coherent we-fulness the epiphany can be the tacit experience of individually being embedded in a higher We or "Circle Being"; and in a Dynamic Presencing constellation it can be the undeniable sense of unity with 'all-there-is'.
    The living field is, it seems, childrendetail1-cory_enchcontinually creating or triggering epiphanic in-formation in living beings. And since my main gate to the spiritual realm is beauty - truth is beauty, love is beauty, the gods are beauty, the essence of life is beauty etc. - to talk about epiphanies is to talk about essential beauty. Beauty - something many of us look for in art - is an epiphany more or less strongly altering our conscious state, momentarily or sometimes even permanently changing us by changing the way we perceive the world and interact with it.

    In previous posts I have suggested that a living field is a particular - often dynamic - constellation of elements and/or beings in space and time. It can be regarded as the network, the mesh of relations between all these elements and beings involved. We could also imagine a living field as a web of relationships that in and of themselves already are dynamic, comparable to a melody which can only be enjoyed or understood in their flow.
    [This makes me think of the neuronal network in the brain and that this particular constellation gives rise to the ultimate form of beauty: consciousness.]

    Take these lines of poetry:
    Here are the miracle-signs you want: that
    you cry through the night and get up at dawn, asking,
    that in the absence of what you ask for your day gets dark,
    your neck thin as a spindle, that what you give away
    is all you won, that you sacrifice belongings,
    sleep, health, your head, that you often
    sit down in a fire like aloes wood, and often go out
    to meet a blade like a battered helmet.

    When acts of helplessness become habitual,
    those are the signs.

    But you run back and forth listening for unusual events,
    peering into faces of travelers.
    “Why are you looking at me like a madman?”
    I have lost a friend. Please forgive me.

    —- from Acts of Helplesssness by Rumi

    What makes the hair on my skin stand as I read the poem? Is it how I relate to it? Is it how words and meaning of the lines relate to each other as in, "to meet a blade like a battered helmet"? I don't know. But following the trace of the experience in my imagination/memory it feels as if at a certain moment all the relationships between words, lines, meaning, feeling 'gel' into a highly coherent whole. The ecology of the living field has reached a tipping point and evokes an insight, feelings, childrendetail2-cory_enchconnectedness, inspiration - sheer beauty.
    This leads me to the understanding that creating the ecology and atmosphere for a living field to resonate with high coherence is very much akin to art. This type of creation, though, goes way beyond the above mentioned definition of art as "deliberately arranging elements in a way that appeals to the senses or emotions". Creating living field art is also related to the question that shapes the boundary of that ecological niche of highly coherent resonance, asking, "Which dimension am I going to call on, explore and what are the ways, values and means I set out with?"

    We know nothing of the living field in 'ordinary circumstances' - it is epiphanies that indicate the whereabouts of the high resonant spaces within it that can be used for artful constellation. And then, once the artist has gone through the epiphanic process provided by the living field, s/he can constellate circumstances and deliberately arrange elements so as to propagate an epiphany-prone 'object of art'. A conversation, a poem, singing, growing a garden, sitting in a circle, writing, dynamic presencing, participatory design, intense we-fulness, the blossoming of the heart-chakra, cooking, painting, cuing up, communing with disembodied entities, a smile on the bus... it is epiphanies that turn these moments and movements into art, making space for beauty in form. There is, of course, always a magic at work, something forever out of control of the artist. Without it all these moments and 'objects of art' lose their color and feel; without this mysterious extra it all lacks authentic, beautiful presence in our real-life-stream.

    childrendetail-cory_enchAn artist, a living field artist recognizes this 'magic', s/he follows its scent to where there is 'light in the atmosphere' that is on the brink of emerging as epiphany. S/he'll arrange - often without knowing how - the words, gestures, colors, beings so that their relationships invoke and evoke, tease out what flows and resounds between them; these streaming sounds, the melody of the artist's doing, entrain the relating participants into epiphany-prone circumstance. This is where everybody and everything involved is unfolding in a deeper, higher, utterly satisfying space, round and resting in itself, and expressing in religious people spiritually, in the aesthetic ones as beauty, in inquisitive beings as realizations and insights, in philosophic and scientific minds as truth, in life's sailors as the winds of love, in kosmic space cowboys as bliss-bubbles, in earthlings as the joyful gravity of reality.

    Becoming an artist of life entails more than sniffing out, co-creating, co-evolving the forms and ecologies for epiphany, it is developing spiraling processes that enlarge the circle of resonant living fields in the manifest and virtual realms by participating in their emergence wherever that may be, "making it up as we go" with all the other feelers of the collective world-being we truly are.
    Out beyond ideas of wrongdoing
    and rightdoing there is a field.
    I'll meet you there.
    When the soul lies down in that grass
    the world is too full to talk about.

    Rumi, translated by Coleman Barks

    childrenstorymural-cory_ench

    Mural by Cory Ench
    Thu, Jul 16, 2009  Permanent link

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    Physics has discussed fields for quite some time but the term can very well be used in the context of the noosphere, our ‘inner’ landscape, the dimension inside and between living beings. Then there is the so called “knowing field,” a concept to explain the remarkable phenomena that happen in family-constellations; these phenomena are also explained using the “morphogenetic field” theory as popularized by Rupert Sheldrake. Shall I mention the “Buddha-field”, a realm existing in the primordial universe outside of space time, produced by the Buddha’s merit? Hmmm, maybe. But surely I’ll acknowledge the “energy-field” as I have been using the term in the “energy-work” I do since 1987, a term that later, upon leaving my role as a guru behind I’ve dropped to use “dynamic presencing” instead because it is a method, really, a way to create a greatly coherent region within the Living Field that connects, informs and enlivens living beings.

    A field in physics is an intrinsic part of each point in space-time; we could say it informs that point and/or expresses it’s forces or properties and how it interacts with other points in space-time. A physical field can be measured by the proper gadgets.
    A knowing field, as we encounter it in systemic constellations can not be measured with physical gadgets because it is not a physical property as we know them at this moment in history. But whoever has participated in a constellation and ‘all of a sudden’ knew things about the person s/he was representing will attest to its informative reality. Having both facilitated and participated in hundreds of systemic constellations I can affirm, “The knowing field is as real as the understanding you get by reading this constellation of letters, these paragraphs.” In some way a well facilitated constellation makes implicit knowledge, emotions, tendencies etc. explicit - deep, often transforming understanding surfaces through the dynamically located presence of representatives in a constellation.
    The morphogenetic field [derived from Greek: morphe=form, and genese=create] as Rupert Sheldrake uses the term is also not (yet?) measurable by any means we know of but it gives us an elegant explanation of what helps form such sophisticated ‘things’ as plants or bodies. Genes act upon fields, which then act upon the developing organism, goes the thought. Ever since Sheldrake has experimented and written elequently about these fields they also are taken to be essentially non-local, and the theory also can explain why after, for instance, a substance has crystallized for the first time in one laboratory the next crystallization in a different laboratory far away happens both in a similar way and a tidbit faster; as if the field informs the substance of the ‘best way’ to form a crystal. In a very interesting way it is Plato’s theory of forms all over again.

    With the Buddha-field we explicitly enter the dimension of spirituality. In essence, similar to a morphogenetic field, a Buddha-field would inform the aspirants on the Buddhist path by surfacing as enlightening experience or insight within the inner ecology of mind, the personal noosphere. A Buddha-field would differ from, for instance, a “Christ-field” as what it causes to surface in the inner ecology has different forms and different associations attached to these, but both fields (and other such as the “Aura” or “Subtle body field“, for instance) are surely part of the “Spirit-field” as it unfolds within and between conscious beings.

    The Living Field that I have been accessing for the first time some 35 years ago but more systematically and consciously the last 25 years mostly through dynamic presencing and systemic constellations, and in the last 5+ years increasingly with circles of the heart and spontaneously in other contexts as well… the Living Field, in my view embraces all non-physical fields mentioned above in as much as they express within and between living beings. It surfaces as meaning, inner depth, beauty, healing, empowerment, solidarity, mutuality, to name but a few way that it comes to light. If we consider the effects a coherent living field can have on participation, engagement and collaboration and its consequences in social or financial benefits we might even arrive at quantifiable effects and eventually measurements in the future.

    Most if not all of us have experiences of the living field. Remember the last time you were talking with someone and time faded away? You got so involved in the conversation, being absorbed in both listening and speaking, following the thread of the conversation, open, authentic, in full sympathy-mode… It was a “silver hour”. And when you remember it you don’t necessarily remember the exact content of that conversation; but it’s spirit still turns you on when you think about it. This is what a coherent living field can feel like.

    As human beings we are super-social animals. The Living Field has evolved with and through all our ways of being together, and feeds back into it. We all know it immediately; it feels good, nourishing. It is most likely the main cause of the happiness a rich social life brings - and the suffering a lonely, disconnected life causes. It is connected with our emotions and most likely our highest ethical values that guide our every day actions (giving us ‘negative’ feelings when we do not move in the direction our ‘highest values’ indicate). We could regard the life-orienting values as ‘attractors’ in the living field, and because we are super-social we can very easily feel what moves the person we meet. A resonance in the living field between people creates some coherence that strengthens that particular constellation of values. A “silver hour” then is an event when a good conversation moves into higher and higher resonance: values are aligning, meaning is apparent and shared on the fly, empathic flows meander into blissful estuaries.

    The Living Field spans the whole spectrum from the experience of being one with a Supreme Being, or Nature to the instant spark of sympathy upon seeing a stranger, from communication with disembodied entities to sitting in a circle with friends, from intuiting where the person sitting opposite you comes from to inspired teamwork. Yet, for the purposes of this post I refer to the Living Filed most of all in the practical context of participative design and the ecology fostering collaboration.

    I have worked a lot on the concept but most of all on the practice of Collaboration Ecology in these last 2 years, co-creating social networking software and practices for community managers, community builders or whatever you want to call these new professionals serving the community and giving it a strong voice in the top-management of a social network. Getting to know Jascha Rohr recently and discovering how close our ideas on many of these issues come I’ve come to understand many of the principles underlying the creation of an ecology of collaboration as participatory design.

    Imagine you have to create something that will be used by many people. Let’s, for example take the product to be a little park in a new neighborhood. Ordinarily the local government calls on some expert park planners or landscape architects, lets them draft some plans, presents these plans to the population through some bureaucratic procedure and then decides what it’s going to be. It then has this plan implemented by a company making the cheapest offer on tender. After a very long time, usually some years, the park is finalized and within a year or two it looks quite ugly because the city doesn’t have enough money to keep it in a beautiful state (if indeed it was that in the beginning), and since it’s not theirs but the government’s park the citizens do not take care.

    Now imagine you involve many people from this neighborhood by using a process of participatory design. This means the citizens, maybe supported by a professional or two, don’t get to vote on 2 or 3 plans but actually collaboratively create the plan themselves in a participatory process. Because the facilitators of the participatory design process know of the power of a coherent living field they take much care for it to unfold its power; they create the beginnings of an ecology of collaboration. Making the plans within a coherent living field deepens the connection between people so that it is often amazing how fast and smooth the collection of ideas and wishes and the deciding on what is best for the common good goes. Obviously such a process turns all participants into stakeholders of the end-result, the park. And since it is not just communal property but has turned into a common good the likelihood that it will be received and kept beautiful for decades by the neighborhood is great. Actually it is most likely that it will be a focus of a coherent living field in the neighborhood much beyond clear psychological and social factors introduced by the participatory design process.

    Grassroot-movements, since their first big bloom in the Sixties, have grown so much that this way of organizing is very much a standard among “concerned citizens”. When grassroot-movements have to deal with more traditional power structures (businesses, governmental organisations, etc.) the top-down approach of these organisations and the bottom-up structures of grassroot-organisations can cause very challenging situations.
    Yet, looking at a situation like this as a living field that could well do with some more resonance allows us to look for ways that both types of organizations can connect maybe more harmonious. This is exactly, what a Collaboration Ecologist does - he’ll be looking for some kind of process that everybody would be willing to engage in, a process that would bring everybody together for some hours so that a sense of “We’re in this together” can unfold. From the point of view of the living field this means that a higher coherence and first level alignment of forces within the field can happen.

    One of the first steps of a collaboration ecologist will always be to create a process (involving as many stakeholders as possible) where everybody will listen to each other and deepen their understanding of a) what ‘we’ are talking about and b) who is involved. Next this is deepened and reflected upon. If this is done by talented people and there aren’t too many ‘prickly plants’ in the collaboration ecology a coherent living field starts to form. If this can be pointed out a quantum jump towards community and mutual understanding can happen that greatly enhaces the richness and will very fast lead to strong results of “what we’re talking about.” Whoever has participated in a process like this that led to a high coherence in the living field will be deeply touched by the experience and motivated to engage much more strongly.

    Knowing about, but most of all having been immersed knowingly in the living field lots of times helps. And at the same time the challenge for the facilitator of these participatory processes remains the same: You need to put yourself at a point where you are willing to change, willing to surrender to what emerges in the process itself, trusting that what human beings - often almost in spite of themselves - tend towards is strengthening the resonance of a living field. Understanding this and helping to orient the field towards practical collaboration is the fine art.

    I see participatory design and it’s implementation as something that naturally emerges from a coherent living field that is looked at with the purpose to create an optimum ecology for collaboration.

    Out beyond the ideas of right-doing or wrong-doing there is a field — I’ll meet you there. ~ Jelaluddin Rumi
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