The Big Fish: Consciousness as Structure, Body and Space. (Consciousness, Literature and the Arts)

The Big Fish: Consciousness as Structure, Body and Space. (Consciousness, Literature and the Arts)

Language: English

Pages: 420

ISBN: 9042021721

Format: PDF / Kindle (mobi) / ePub

While debate continues in the fields of the sciences and humanities as to the nature of consciousness and the location of consciousness in the brain or as a field phenomenon, in the Vedic tradition, consciousness has been understood and continues to be articulated as an infinite field of intelligence at the basis of all forms of existence. This infinite field of intelligence is accessible to human awareness, being the very nature of the mind and the structuring dynamics of the physiology-from the DNA, to the cell, tissues, organs, and to the whole body and its sophisticated functioning. This two-part volume, The Big Fish: Consciousness as Structure, Body and Space, considers in Part One the Vedic approach to consciousness, specifically referencing Maharishi Vedic Science, and discusses themes pertinent to the arts, including perception and cognition, memory as awareness, history and culture, artistic performance and social responsibility, observatory instruments as spaces and structures to enhance consciousness, and, beyond metaphor, architectural sites as multi-layered enclosures of the brain detailed in the Shrimad Devi Bhagavatam and, as cosmic habitat or Vastu aligned to the celestial bodies. Presenting some more general consciousness-based readings, Part Two includes essays by various authors on Agnes Martin and her views on art, perfection and the "Classic", unified field based education and freedom of expression versus censorship in art, prints from the Renaissance to the contemporary era as allegories of consciousness, the work of Australian artist Michael Kane Taylor as beyond a modern /postmodern dichotomy, the photographic series The Ocean of Beauty by Mark Paul Petrick referencing the Vedic text the Saundarya-Lahari, a Deleuzian analysis of the dual-screen multi-arts work Reverie I, and an account of the making of Reverie II, a single-screen video projection inspired by the idea of dynamics of awareness. This book, therefore, presents a broad range of interests and reading while offering a unique, yet profoundly transformative perspective on consciousness.



















Brown calls for a resensitizing of our biological memory system and the ability to virtualize things into our own landscape of memory.12 Increasingly, art addresses themes of memory, definitions of the self, and individual and cultural identity. From Guillermo GómezPeña,13 to Andrea Polli, Paul Coldwell, Ravinder Reddy, Gillian Brown, Shirin Neshat, and Paul Schütze, artists deal with concepts of attention, memory, and identity. Schütze’s Third Site: Vertical Memories14 uses sound and

to the 1980s provide little evidence of that fact (i.e., Janson’s A History of Art). 62 Maharishi Mahesh Yogi, 1993, pp. 125-126. 102 Memory as Smriti—100% Wakefulness Righteousness is eternal. In the time of that most excellent of Yugas everything had been done and nothing remained to be done… [There was] no disease or decline of the organs of sense through the influence of age…no malice…no hatred, cruelty, fear, affliction, jealousy or envy.63 Hancock continues to compare this account with

remarkable about this phenomenon is not just that it can be performed but that practice of the TM-Sidhi Programme and Yogic Flying create an influence of coherence in the environment and in collective consciousness. This is why Maharishi recommends the practice of these technologies of consciousness by significantly large groups in the countries of the world. Creating coherence means increasing positive trends on all levels, social, natural, cultural. While artists and computer games experts (in

this, Gablik states that The hegemony of the eye is very strong in our culture, and to challenge the commitment to its ocular-centric, or vision-centered aesthetic, replacing it with a paradigm shift that displaces vision with the very different influence of listening, is to open oneself up to the complaint that what is being described here is not art at all, but environmental activism, or social work.103 The idea of an ocular-centric aesthetic being more forceful than an aural one seems to have

of Yagya, according to Maharishi Vedic Science, Yagya is ultimately performance from the level of pure consciousness. It is offering at the self-referral level. Yagya is not simply a ritual performance that satisfies a local understanding of social action. It is performance from the level of the unified field of 118 119 Image printed with permission of the artist. Huyler, 1992, p. 5. 160 Performance as Yagya or Offering self-referral consciousness. It is artistic performance that generates a

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