Kreativnost i viša stanja svijesti

Dream reality and artist-created virtual reality, combined with the reality we perceive as physical, form three realities of human experience. Taking this into account, primary senses seem incomplete without extrasensory senses, which allow access to higher states of consciousness. Artists sometimes use those states as the source of creativity, inspiration, and ideas. The real-time neurofeedback shows brainwave activity in the theta frequency range in a creativity-related Hypnagogic state. Alpha and delta frequencies are also creativity-related. Alpha is observed during the inspiration stage of creative thinking, while theta occurs during transcendental meditation and deep sleep. Neurofeedback is also used to create works of art. Higher states of consciousness-inducing techniques include dream machines, mind machines, binaural beats, hallucinogenic drugs, and most advantageous – float tanks. Holistic methods like meditation, hypnotherapy, and energy healing are also helpful. Meditation seems to be the most effective, with the ability to control lucid dreaming and out-of-body experiences to an extent. The generation of creative ideas is a phenomenon that defies scientific explanation. The author’s experiences in higher states of consciousness in art, meditation, and energy healing, make him confident that higher states of consciousness are legitimate sources of creativity and essential to the overall health of body, mind, and soul.Stvarnost snova i umjetnošću stvorena virtualna stvarnost, u kombinaciji sa stvarnošću koju doživljavamo fizičkom, tvore tri stvarnosti ljudskog iskustva. Uzimajući to u obzir, osnovna osjetila djeluju nepotpuna bez ekstrasenzornih osjetila koja omogućuju pristup višim stanjima svijesti. Umjetnici nekada koriste ta stanja kao izvor kreativnosti, inspiracije i ideja. U hipnagogičkom stanju, koje je povezano s kreativnošću, neurofeedback pokazuje aktivnost moždanih valova u rasponu theta frekvencija. Alfa i delta frekvencije također su povezane s kreativnošću. Alfa se javlja kod inspirativne faze kreativnog razmišljanja, dok se theta javlja tijekom transcendentalne meditacije i dubokog sna. Neurofeedback se također koristi i u kreaciji umjetničkih djela. Tehnike koje potiču viša stanja svijesti uključuju strojeve za snove, strojeve za um, binauralne ritmove, halucinogene droge, te najučinkovitije – tankove za plutanje. Holističke metode poput meditacije, hipnoterapije i energetskog iscjeljivanja također su korisne. Meditacija djeluje najučinkovitije, s obzirom da donekle omogućuje kontrolu lucidnih snova i izvantjelesnih iskustava. Nastajanje kreativnih ideja fenomen je koji odolijeva znanstvenim objašnjenjima. Autor je na temelju vlastitih iskustava u višim stanjima svijesti u umjetnosti, meditaciji i energetskom iscjeljivanju, uvjeren da su ona legitimni izvori kreativnosti, te bitna za održavanje zdravlja tijela, uma i duše

Women abused as children and participatory dreaming: a study of unitary healing.

There is an extremely high percentage of American women who have experienced abuse as children. The consequences of these experiences are pervasive and severe including lifelong patterns of wounding. Research on the health of these women suggests that they are socially isolated, have significant health problems, are socially and economically at-risk, and are particularly vulnerable to further abuse in intimate relationships and with healthcare providers. There is a dearth of literature which addresses healing and the potential for healing as a global construct in the life patterns of these women. This was a descriptive, exploratory study to examine the potential of participatory dreaming (a group facilitated waking dream process using imagery and art) on unitary healing in women abused as children. A qualitative unitary appreciative inquiry was done with a purposive sample of 12 women recruited from two metropolitan areas of North Carolina. The findings suggested that participatory dreaming was an effective and powerful method of illuminating healing as a process and offering the possibilities for change and transformation in the lives of these women who experienced abuse as children. The patterning focus of this study demonstrated that healing from childhood abuse is a unitary phenomenon which may be appreciated in the context of the wholeness inherent in the lives of these women

Dreams, desire and addiction : an archetypal analysis

Bibliography: leaves 239-280.This thesis suggests that dream analysis is a crucial theoretical tool, not simply to assist the individuation process, but also to gain understanding of the severing of body from soul that is so linked to addiction. Thus the thesis proposes that dream analysis is a key means to access one's spirituality, not, simply a psychoanalytic technique. It draws on a range of disciplines and discourses, located in a Jungian and ecofeminist framework, to suggest that a growing crisis of ill health - at both individual and ecological levels - is attributable, in essence, to a loss of soul. It focuses on addiction as a reflection of this loss, attempting to show that the relentless craving of the addict is best understood as spiritual hunger. The deep desire which underlies this hunger is expressed in multiple ways in our dreams. A major aspect of the thesis is an attempt to explicate the nature of the loss, and of the hunger which points to it. I suggest that both have their roots in the patriarchal conquest and denigration of women and the feminine, which may be seen inscribed on the ravaged bodies of women and Mother Earth. The first four chapters lay the groundwork for the case study of a woman whose experience illustrates much of the complexity of this theoretical discussion. The value of dream analysis as a theoretical tool which actively assists the individuation process is presented in Chapter 1 within a multi-disciplinary framework. In Chapter 2, the focus details and analyses the Jungian model and approach to dream interpretation in preparation for the concluding 9ase study. Parallels between relevant aspects of the Buddhist and Hindu traditions and Jungian models are also explored. Chapter 3 examines archetypal patterns of addiction seeking to understand the dynamic of wounded desire and displaced spiritual hunger. Postmodern links are made. Chapter 4 suggests that the devaluation and violation of the female body has its roots in the elevation of the patriarchal sky god of the Abrahamic tradition. The need for a rigorous application of a hermeneutic of suspicion towards androcentric constructions of meaning is highlighted and related to the vulnerabilities females experience in relation to embodiment. Foreshadowing key issues of the case study and linked clearly to the thematic of addiction, the impact of sexual abuse on the child's experience of embodiment becomes a theoretical focus. The case study conducted with a 31-year-old bulimic after her release from hospital, attempts to demonstrate the practical relevance of these ideas. A series of dreams recorded by her are analysed thematically and interpreted to support the claim that dreams offer a window on the transformative process of soul recovery. Thus major theoretical issues explored include the nature of the feminine, in various notions of "soul", themes of embodiment in relation to the disembodiment characteristic of the addict, the contemporary relevance of the archetypal imagery contained in myth and folk tales, and convergences between Jungian, ecofeminist, New Age, Eastern and postmodern discourses. Dream work, I suggest, opens the way to healing and empowerment

‘Pavilions of Dreaming’: Bodies as Structures in Kay Sage’s Demain, Monsieur Silber

Born Katherine Linn Sage near Albany, New York, in 1898, Kay Sage is best known for her “architectonic” landscapes, described as her “private cloudland” in Time magazine. Less well known are her four volumes of poetry published between 1957 and 1962, three in French, one in English. Although her paintings are devoid of living beings, with one notable exception, they are populated with structures and structural elements, which, in her poems, stand in for herself, for her own body, as a supplement to her painted work. Her friend James Thrall Soby described the abstracted structures in her paintings as “pavilions of dreaming” that arise from somewhere “deep in memory,” a description that serves as an corollary to the way Sage describes herself in her poems, as a person exposed to the elements, the worries and indignities of everyday life, in a gradually rigidifying body, as though she experienced her body as a kind of open garden “pavilion.” Sage’s more significant self-portraiture occurred at the end of her life in her four volumes of poetry, three published in France—Demain, Monsieur Silber (Tomorrow, Mr. Silber; Seghers, 1957), in a limited edition of 500 copies; Faut dire c’qui est (Tell It Like It Is; Debresse, 1959); and Mordicus (Mordicus; pab, 1962), also in a limited edition of 253 copies—and The More I Wonder (Bookman, 1957), published in the United States. A vivid personality emerges in her poems, steeped in despair yet leavened with dark humor. Her poetic voice surfaces out of sturdy yet vulnerable bodies typically represented as more architectural than human, ranging from a tree to an oyster, a tower, and a marble statue

Protest of Controversial Art in New York City Museums in 2017-2018: Reactions, Responses, and Legal/Ethical Obligations of Museums in the Age of #MeToo, #BlackLivesMatter, and Activism on the Internet.

Over the last two years, museums in New York City have experienced a rise in protest and backlash against the display of works of art, particularly those that are perceived as offensive, controversial, and relevant to current sociopolitical issues. This thesis explores three case studies of controversy at the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum, all of which faced protest and public criticism over particular works of art and responded in a unique way to their respective scandal. This study is comprised of an introduction, four chapters, and a conclusion. The first chapter outlines important topics within the field of art law that specifically relate to museum controversies including statutes, legal standards, and precedents set by landmark cases in the United States. The second chapter discusses the controversy that erupted at the Met in 2017 over the display of Balthus’ Thérèse Dreaming (1938) due to its perceived relevance to sexual abuse and the #MeToo movement. The third chapter explores the controversy over the inclusion of Dana Schutz’s Open Casket (2016) in the 2017 Whitney Biennial in relation to racism in America and the Black Lives Matter movement. The fourth chapter discusses the controversy at the Guggenheim Museum over three works of art in the 2018 exhibition, Art and China after 1989: Theater of the World, where the museum was accused of supporting animal abuse. By exploring these controversies and analyzing each museum’s response, this thesis examines the tensions between legal and ethical obligations that art institutions have to their mission and to the public, as well as provides guidelines for how museums should respond to controversies over works of art in the future

Beyond picturing

Beyond Picturing is practice led research aimed at determining whether horizontality can be deemed a medium in its own right, and further, whether it can establish a new set of conventions, enabling a cross-cultural dialogue between peoples of our region, particularly Aboriginal people and Maori and those of European heritage. I chart the course of horizontality across the art of the 20th century, identifying it as a medium for practice. My thesis examines examples in which horizontality as a methodology was a vehicle for meaning, based on the theories of structural linguistics and phenomenology. Furthermore, by acknowledging the axial shift, from the horizontal plane of process to the vertical plane of image, I discover a shared ground for cultural dialogue with painters of the central desert and the Kimberley

The Cowl - v.78 - n.15 - Feb 13, 2014

The Cowl - student newspaper of Providence College. Volume 78 - No. 15 - February 13, 2014. 32 pages

The Analysis of Cosmetic Advertising Language by Using Presupposition Approach

The raising of many new cosmetic brands leads the advertiser use various strategies to attract the reader. In line with this, this study was conducted to reveal the marketing strategies used by the cosmetic advertisers in order to attract the readers to buy more their products. This present study analyzed cosmetic advertising language by using presupposition approach. Yule’s and Lam’s theory was used as a guidance to recognize the hidden meaning producing by the advertisers. The data of this analysis were taken from instagram accounts of the international cosmetic brands. There were 20 advertisments from 10 different brands analyzed in this research. The descriprive qualitative method was used since the data in the form of advertisement taglines. The finding of this study found that there were 4 types of presupposition appear in the advertisement they are existential presupposition, lexical presupposition, structural presupposition and non-factive presupposition. While the use of presupposition in cosmetic advertising language was as implicit competition

‘Such endings that are not over’: The slave trade, social dreaming and affect in a museum

The paper explores Social Dreaming (SD) as a method for understanding the affective responses to one of the exhibitions that marked the bicentenary of the 1807 Act that abolished the British slave trade, Breaking the Chains: The Fight to End Slavery, at the British Empire and Commonwealth Museum (BECM) in Bristol. It asks whether SD can serve the evolving purposes and mission of museums and their role in society. The theory and practice of SD is described and findings are interpreted from a psychosocial and Deleuzian perspective. Finally the value and potential of SD is discussed as a process for attending to audience reactions to disturbing exhibitions