Wednesday, October 6, 2010

What coulda been - Art as technology

Here are a couple of examples of 'miraculous' effects of simple creative human endeavors, co-operation with Life and Mother Earth, from 1988 and 1990. I'm sure millions more recent and past examples could be found. We humans coulda done more. The reasons why we didn't can be endlessly debated, but matter no more. We've crossed some kind of line now, and maybe, just maybe, future generations will, if they survive, gain some benefit from these sacred stories.

The first example is one of many 'projects' done by my good brother, Beau, near Barrow, Alaska. He spent a few years doing similar 'drops' throughout the world into various bodies of water. Here, the results were undeniable, captured live, and seen by millions around the world. Apparently, there is a movie in the works, but will completely omit this part of the story. I let Beau describe the scene in his own words:

"The true story behind the largest animal rescue in the history of the world. This document is a picture of how you can interact with the power of life to create powerful and positive change for this earth and all living beings upon her. It is time to make ceremony for the unfolding of life upon this planet. This video presents one such ceremony and it's effect upon the world. Use this as an sample of what you too can do when you join together with Life in sacred relationship. The time is now to participate. It's your turn to make magic happen.
Over a billion people watched this event play-out within a giant heart space. It has been said that this ceremony was in a direct way, responsible for the fall of the Berlin wall. What will you do when you join together with this huge power we so easily refer to as life? I assure you, it will be incredible. Go for it now."

The following second example is from an article by artist Bill Witherspoon, published in 2005 in Leonardo (MIT Journal Press). The entire article is available HERE for download as pdf (24 pages) - click on the link in second paragraph - well worth reading.

I should mention that this 'art project' of Witherspoon is of great interest to me personally, since it was something on my 'to-do' list for many years. I have deeply studied Shri Yantra since 1973, when my interest was piqued as I was looking at Tantric Art texts. Since I could find no referenced explanation for the real mathematical process for constructing the Yantra, I wracked my brain for weeks and had the floor covered with crumpled papers trying to decipher the mystery. One night the solution came in a "dream". In the morning I was able to do the construction in a couple of hours. I went to New Delhi and spoke to Ajit Mukerjee, the leading scholar on Tantric Art, and he opened his desk drawer to show me an equal number of sheets of his attempts. I left my solution for him to examine, but left India shortly after. In an intense meditation on the Shri Yantra before I left, I was given an extended darshan of the Goddess of the Land, Maa Kali, which has remained with me til the present. Having spent many years as a land surveyor, I long have sought the right place and time to do what Mr. Witherspoon accomplished in such a spectacular fashion.
[My solution, shown at the top of this post, is based on an invisible underlying grid of seven inscribed pentagons and their corner-and-midpoint rays from the central bindu.]

Art As Technology: Oregon Desert Sri Yantra, by Bill Witherspoon (excerpt)

"In the summer of 1989 I took my studio, a large converted bus, to a remote part of the
high desert in southeast Oregon.  I stayed there about four months in a familiar place
that I had painted from the previous year and made paintings.  After being there a few
weeks I made a design in my notebook, which I had planned to integrate into a painting
of the sky.  For some reason, instead I built the design with lines of cairns (small piles of
rocks), placing the bus in its center.  The design was about sixty yards across, precise
and symmetrical.  The center of the design was left open, in a sense unfinished, because it lay under the bus, directly beneath the spot where I regularly practiced meditation.  

After the design was completed, animals started to come into its boundaries.  This was
in complete contrast to the previous year when only a few birds and kangaroo rats came
near this spot in a six-month period.  As far as I could tell, nothing had changed except
that I had made the design.  In the next three months, several hundred animals of all
kinds appeared inside the design.  Many of them, such as the water ouzels, had to come
some distance from their normal habitat.  Others, such as the golden foxes that slept by
the door in the late afternoon, were undoubtedly always in the area but because of their
shyness had never before come close.  

The animals that came behaved in an unusual manner.  They did not seem inhibited by
my presence and they did not seem to be territorial or aggressive with each other.  For
example, one night I watched owls, rabbits and kangaroo rats all within a few feet of
each other without seeing any signs of fear or aggression.  Several times I saw twenty or
more jack rabbits gathered together, walking upright on their hind legs and on more
than one occasion antelope walked into camp and stood looking at me attentively.

At this time, I began researching traditional designs from different parts of the world.  I
found this particular design almost exactly described in an obscure Sanskrit text called
the Vastu Sutra Upanishad.  According to this text the design was to be placed on stone
blocks before carving sacred images.  Carving the parts of the image in harmony with
the design was said to insure that the image would be "attractive to consciousness" and
this in turn would result in the finished image being entered by the consciousness of the
deity.  The phrase “attractive to consciousness” caught my attention.

About this time a friend asked if I could make a Sri Yantra.  The Sri Yantra is a
traditional design from India that is thought of as an instance or occurrence (rather than
a symbol) of the deepest laws and forces of Mother Nature or Mother Divine.  I spent a
few months doing extensive library research on the Sri Yantra and also spoke with
people who had experienced its use in India as part of the spiritual tradition of Sri
Vidya.  Then I decided it would be consistent with its traditional use to make one from
gold leaf and transparent pigments.  

The process of research, and especially construction of the Sri Yantra, produced a
powerful influence.  It restructured my awareness and perception.  I believed that my
sensory experience and understanding of deep laws and forces of Nature was rapidly
unfolded. I had been in the habit of understanding reality as being hierarchically structured in interpenetrating layers; with successively deeper layers being simpler, more
comprehensive and more powerful.  The activity of these deep laws creates the surface
of life, which we experience as every day reality.  (“Laws”, used in this sense, contains
the notion of ordering principle or intelligence combined with force or energy.)  It may not be common to give our attention to the direct perception or experience of these deep
laws, due to our absorption in the surface events of the world.  However, for those who
are drawn to exploration of reality’s deeper layers, the refinement of perception
resulting from a restructuring of awareness emerges as an extremely attractive and
useful tool.  Therefore, this experience of more refined perception coming from my
encounter with the Sri Yantra led me to wonder what more I might do to amplify its

III 1990:  Oregon Desert Sri Yantra 

In the summer of 1990, a group of friends, one of my sons and I went to a remote alkali
lake bed in the high desert of southeast Oregon to inscribe a large Sri Yantra in the earth. 
It was to contain a central point large enough to live in.  The site was chosen because of
its beauty and remoteness.  Almost no one, except a few ranchers, ever went there. 
Inscribing lines in the alkali surface would not disturb any vegetation and it would be a
transitory event, eventually disappearing back into the surface through the natural
action of wind and the occasional water that floods the lake bed every few years.   

The design was made without machines or modern tools except binoculars and a simple
hand plow.  We used only ancient principles of geometry and long wires and sharpened
poles as tools.  When completed it was 1/4 mile across, covered over forty acres and
contained over thirteen miles of lines.  The lines, plowed with an old fashioned garden
cultivator pulled by three crew members and steered by the fourth, were about four
inches deep with the hard alkali crusted dirt cast to both sides of the furrow.

During construction, we were careful to minimize the disturbances to the land.  We
chose to walk several miles daily from camp to the site rather than use vehicles, and
refrained from using other motorized devices such as a tiller.  We did not want to leave
tracks or other marks, not to preserve anonymity but out of respect for the purity of the

 Construction of the Sri Yantra took ten days to complete.  As soon as the last line of the
design was plowed, heavy clouds began to collect in the south.  Within an hour, our
valley was filled with high winds, intense lightning strikes and about 1/2 inch of rain. 
The result of this storm was that all traces and tracks from our working were dissolved. 
Like a finished painting, it was as if the surface had been varnished.  Remarkably, the
lightning and the rain were limited only to the small valley where we were working, a
fact that was the source of much speculation by a nearby rancher who wanted the rain
on his land.  

In the three weeks that followed, I lived in the nine-foot central circle of the Sri Yantra. 
During that period and on several occasions during the following years, other people
and I observed remarkable changes in the workings of Nature within the design and in
the valley where it was situated.  

One of the more interesting subjective changes was a modification of the “feeling”
within the valley.  While a difficult parameter to describe or measure, this change in feeling was noted by ranchers and other people who have known the area for a long
time.  People reported experiencing qualities of energetic peacefulness, harmony with
nature and enhanced intuition when they were in the design and valley.  Another
influence was a radical change in the quality of meditation that would repeatedly occur
if individuals moved a few feet out of the central circle into the innermost triangle of the
design or vice versa. 

Changes in the environment were also observed.  Within the design, which had been
inscribed in highly alkaline silt, incapable of supporting any kind of vegetation, there
were remarkable changes in the direction of increased fertility.  

Two years after construction, even though the lines were disappearing, the structure of
the soil had changed from a highly compacted mixture of silt and salts to a loose,
crumbly soil that smelled and tasted more like normal soil.  The surface of the soil was
also significantly changed.  Instead of the flat, layered and often cracked surface that had
characterized the lake bed before inscribing the Sri Yantra, the surface became
“rumpled;” formed into a three dimensional configuration of regular ridges and valleys
that arranged themselves in the pattern of hexagonal close packing, much like an egg
carton.  The pattern was caused by modification of the surface soil into a physically
expanded, more adhesive and resilient material.  

Both of the soil changes were due to an extraordinary proliferation of soil
microorganisms and the resulting increase in soil organic matter.  The soil changes were
limited to the forty or so acres of the design and were most pronounced in its center.

In other respects, the entire fifty square mile valley was different.  The ranchers noticed
a continued increase in the valley’s rainfall.  This was accompanied by increased
vegetative growth, as well as increased populations of several plants and three animals
species that were not previously common in the valley.  

Because of these observations, I began to speculate about possible mechanisms by which
the geometric structures might bring about change.  The most interesting observation
was that there appeared to be an inverse correlation between the gradual disappearance
of the design as it melted back into the lakebed and the increase in the presence or
influence of the enlivened laws of Nature.  Other analogous situations seem to exist as in
Homeopathy, where increasing levels of dilution are said to represent or impart
increasing levels of strength.  An even more striking parallel may exist with the
principal of Sangyama.  Sangyama, as described by the Indian Rishi, Patanjali, is a
process in which the mind generates an impulse at the deepest level of consciousness
and then allows that impulse to settle back into the field of pure undifferentiated
consciousness from which it had been drawn.  The result of this process is the
appearance of a new impulse that has enormous power and direct support of
fundamental forces of Nature.

The construction of the Sri Yantra was also accompanied by other events that gave rise
to new understandings about how Nature might operate.  Going into the valley for the
first time, I was driving the converted bus and towing a pickup truck. We stopped and I
got out to open a barbed wire gate.  Sitting on the gatepost was an adult golden eagle.

The eagle looked at me squarely, swished its tail back and forth several times, dropped a
tail feather and flew off.  In the next several weeks, I had occasion to go through the
same gate many times and there was no eagle.  Then, on my homeward trip, as I passed
through the gate for the last time, a golden eagle was sitting on the same gatepost.  It
waited for me to get out of the bus, looked at me squarely, swished its tail, dropped
another feather and flew off.  

Back home, several weeks later, the National Guard discovered the Sri Yantra and the
media, not knowing its origins or implications, created a greatly exaggerated hoopla.  I
was in a position of deciding to speak publicly about the project or remain anonymous. 
In order to clarify the rapidly growing misunderstandings, I decided to speak publicly. 
Immediately upon making that decision, I walked outside my rural Iowa home and
looked up into the sky.  Directly above the house were fourteen circling bald eagles.

A year later, I had occasion to tell this story to a Vedic scholar.  He told me of a
traditional yagya, or ceremony, infrequently performed in India to honor the Divine
Mother, which is considered to have been successful only if it results in the appearance
of an eagle.  Finally, these events, related to several Native American elders and
medicine people, elicited in-depth explanations of the ways Nature communicates."
(end excerpt)


De-colonize; Re-indigenize

1 comment:

Zoner said...

Reading things like this make me lower my eyes and marvel at how completely clueless we have become while also, somehow, managing to convince self that we are on some sort of advancement curve. Sure, if newer and better ways to entertain are priority, but good, God, what we DON'T know or denigrate as kooky and fringe is enough to make a curious head spin around like a top.

If only there were unlimited time for exploration and discovery....

Thank you so much for sharing this.