The current of Flow (identified by Csikszentmihalyi ) that underscores the creative process is an intangible but very real principle in the making process for any artist. However we acknowledge its power, it is like a tide, a serendipitious, synchronicitous pull that always rests just at the floor of our subconscious and connects us with timelessness, ecstasy and serenity - states once know, are the only ones worth pining after. Rumi's well.
In Chinese, pure awareness is called Wu Chi. It is the infinite, formless place just before all meaning and form. The place from which all creativity springs. When you are connected with Wu Chi you are in the Tao. When you are in the Tao creativity naturally happens. WU CHI, emptiness, is symbolized by the empty circle, and TAI CHI, plenitude, is symbolized by the ancient Chinese yin/yang fractal:
In Jung's introduction to The Book of Changes he says "[Our] science ... is based upon the principle of causality, and causality is considered to be an axiomatic truth. But a great change in our standpoint is setting in. What Kant's Critique of Pure Reason failed to do, is being accomplished by modern physics. The axioms of causality are being shaken to their foundations: we know now that what we term natural laws are merely statistical truths and thus must necessarily allow for exceptions ... If we leave things to nature, we see a very different picture: every process is partially or totally interfered with by chance, so much so that under natural circumstances a course of events absolutely conforming to specific laws is almost an exception.
" synchronicity takes the coincidence of events in space and time as meaning something more than mere chance, namely, a peculiar interdependence of objective events among themselves as well as with the subjective (psychic) states of the observer or observers.
The ancient Chinese mind contemplates the cosmos in a way comparable to that of the modern physicist, who cannot deny that his model of the world is a decidedly psychophysical structure. The microphysical event includes the observer just as much as the reality underlying the I Ching comprises subjective, i.e., psychic conditions in the totality of the momentary situation. Just as causality describes the sequence of events, so synchronicity to the Chinese mind deals with the coincidence of events."
Cage used the I Ching in his creative process Eno's Oblique Strategies
Merce Cunningham and his use of chance as a choreography device
No comments:
Post a Comment