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Ken Wilber claims that it is the artist, and not the art, that defines "Integral Art."
In response to the question, "What is Integral ARt?" Ken Wilber replied (paraphrased):
"Integral art is any art that is produced by integral consciousness. What that definition does is that it gets us away from having to define the exact ingredients or elements or specific components of something that is to be called integral art because there are so many components that go into artwork but with integral art there is an integral way of looking at landscape and a non-integral way of looking at it but none of those components will define integral art but that the crucial component is that the artist creating the artwork is integral in that the artist is viewing the artwork is through integral eyes and being created by integral eyes and composed by integral eyes. This is an important type of artwork that will come to the fore as integral consciousness becomes to spread and more and more of the population maybe 10% and the abundance of integral consciousness is increasing....[$$$]"
[I tried to unitalicize the final thing up there [$$$] to indicate that it was my insertion, but the Universe would not permit me to indicate that it was mine].
Perspectival and multi-perspectival thinking can only make assertions of truth-claims without offering any proof so must both be overcome and replaced by aperspectival verition. This aperspectival wholeness in turn permits us to make an impartation of truth veritioning these changes created by mutations in structures of consciousness over time across many different fields (including the visual arts) which we intend to do momentarily but thought we'd drop an introduction/warning. Which if true (the existence of Integral consciousness), would make its presence known across numerous different fields including the visual arts by now without having to "prove" the existence of "Integral art" by resorting to "going inside the head" to assess the "Altitude" of the artist "behind the work" to confirm that the artist subscribes to the AQAL (all lines, all levels, all quadrants, all zones and all other categorical systems and forms of systematizations, etc.) form of integral theory before his or her work is deemed to be "I-Integral Art."
The 5 Skills of an Integral Life
Dear friends, this month we are pleased to welcome 12,000 new people to the Integral Life community, so along with a warm welcome we thought we'd also offer this downloadable introduction to Integral Life media that focuses on building 5 skills essential for integral living: Presence, Awareness, Perspective, Attention and Discernment. If you are brand new to Integral Life or a long-time member, we hope this guide can serve you in fresh new ways as you embark on an incredible 2010.
Warmly,
Angie Hinickle
Art & Communications Coordinator
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Differences between "multi-perspectival" and "aperspectival"
Posted January 30th, 2010 by barbi hammondpretend-play more like it
Posted January 30th, 2010 by barbi hammond in response to playSo I would have to respectfully disagree with your perspective or position that "the best we can do is say from an integral persective the art was conceived with the integral in mind." That is tantamount to saying that there is no arational-aperspectival-integral mode of expression in the arts; and that such an integrated and arational mode of expression can ultimately only be "inferred" via crawling into the mind of the artist subjectively in order to psychometrically assess his/or "Altitude" objectively (notice how the word, "her," was "spliced off" by the Universe, which "overruled me" and my intention to type "her," which was "cut out" in protest of KW's form of integral which is ultimately far too out-of-balance of male:female energies with too much emphasis on right- or reich-wing male energy due to its three-dimensionality and rational orientation). If the I-Integralist is truly "integral" in his or her consciousness, it would be revealed in his or her work Itself.
Differences between "multi-perspectival" and "aperspectival"
Posted January 30th, 2010 by barbi hammond
This is what "8 Ecological Selves or Perspectives" "looks like" as described in Integral Ecology. All of which are "perspectives" based on triangular or pyramidal vision with two bases forming the "eyes" at the base of a triangle and all of them ending in vanishing points in space. This is what a "wider contextual framework" based on 8 different ecological selves or perspectives "looks like." Notice also the numerous gaps in between each "perspective" despite the presence of multiple perspectives. It is essentially no different in form from the green form of multi-perspectivity which it rejects.
Here is 8 Ecological Selves or Perspectives projected outward into space 3-Dimensionally into the shape of an 8-pointed star. It is only a partial perception based on multiple vanishing points in space with many gaps in between which are inaccessible from the percipient's view, which is spatially-constricted in his or her perception to the area within the 8-pointed star.

"Aperspectival" is neither the negation of "perspective" nor of "multi-perspective" but is the supersession of them both in a higher dimension of Time although "perspective" still retains its validity as "provisional truth" within the spatial three-dimensional realm of space. As a consequence of the irruption of Time into consciousness and this new form of perception, which is an aperspectival and arational perception of the undivided whole, the compulsive compartmentalization, sectorialization, categorization, conceptualization, and systematization (or meta-systematization) of knowledge which currently defines the approach of I-Integral theory must be abandoned and must be replaced by diaphaneity, an arational mode of perception of the undivided whole. This arational and aperspectival perception of the whole necessarily must go beyond the limited perception of perspectival thinking created by the dualistic or preferential treatment toward the subject or object in space to access all of Time which alone can offer verity in truth. The irruption of Time into consciousness naturally results in the bending and curvature of closed three-dimensional space and results in the "opening up" of space, and the consequent dissolution of dualities and fixed perspectival points in space as perceived by the limited agenda of the perspectival or multi-perspectival ego-self as consciousness moves to "the Itself," a moving and spherical transparency and diaphaneity which is spiritual in nature.
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Testing the validity of integral theory by applying it to art history
Posted January 30th, 2010 by barbi hammond--
John David Ebert remarked that "the job of a properly-functioning mythology is to reveal via diaphaneity (to make perceptible via "making present" the wholeness in transparency) how all of these disciplines in the arts and sciences are moving into this" [that is--into "integrality"]. And there is indeed validity in the limited, poetic, and two-dimensional sense of "mythology" in the concept of a 'properly-functioning mythology" to describe the various approaches taken by art historians and art critics throughout the years toward an integrated and diaphanous perception of whole (most notably, Joseph Campbell). However, if one's mythology is built entirely on three-dimensional conceptual models, perspectival thinking, and categorical systems, it is neither a properly-function mythology nor its higher four-dimensional counterpart, eteology, but merely philosophy: a systematization of knowledge with no relation to the concrete world except in abstract form in the perspectival realm of space. As such it is merely a fragmentation of knowledge and abstractions with no way to apply them to the concrete world so as to test their validity. Indeed it becomes "self-referential" in the fact that Ken Wilber was ultimately forced to use the "I of the beholder" behind the artwork to argue his case for the artwork's integrality rather on the basis of the artwork itself on its own merits.
A good way of testing the validity of a claim made by integral theory is to apply their respective claims to the concrete world of art history: "concrete" in the fact that you can see the process happening instead of just hearing about it conceptually. So the process that you are looking at are two mutations: the birth of perspective in 1500 AD and the one that happened at the end of the 19th century where perspective shifted from perspective into aperspectivity (which Ken Wilber in turn misinterprets as "pluralistic green").
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Posted January 30th, 2010 by admin