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Ken Wilber claims that it is the artist, and not the art, that defines "Integral Art."

In Reference to:
What Is Integral Art?
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].
 
What that definition does is permits KW to get away with making a vacuous statement to impress 12,000 impressionable new members who signed on ($$$) last month to Integral Life to accept on faith without any evidence or proof his assertion that integral Art is "integral" because "the I-Integral artist is integral" and without offering any insight whatsoever about any aspect of I-Integral art itself (which ultimately is the only thing that is "accessible" (the "artifact": that is, the "artwork" itself): not the consciousness or "Altitude" of the "I-Integralist artist" by crawling through an oriface in his or her physical body to climb into his or her "head") due to apparently coming down with "aperspectival madness," an oxymoron coined by KW by taking Gebser's term, "aperspectival," and misrepresenting Gebser's work by attaching "aperspectival" to the "reefer madness craze" or psychosis that strikes pluralistic green by having access to a multiplicity of dizzifying perspectives all ending in vanishing points in three-dimensional space by which to face the dizzying multitudes of perspectives, objects, components, and elements in the visual field of I-Integral art while remaining temporically-frozen in space and then getting confused. So what's a poor I-Integralist to do in such a case, with all these pluralistic "its-objects" running around in space? Easy: ignore the "objects" and simply focus on the "subject," e.g., "the I of the beholder" (be it "you," the "beholder," on how you "look at it" or be it on the "Altitude" of the artist "behind" the objects) via perspectival either/or thinking in duality.
 
Those who are perspectivally-fixed to one or more vanishing points in space via "perspectival" or "multi-perspectival" thinking and vision via triangularity in thinking or vision while standing frozen in non-movement to space do not have a perception of the whole to offer verity in truth but can only assert truth-claims based on access to numerous dizzifying "perspectives" in space none of which can ever be confirmed or substantiated as "true" without access to Time by "making present" the past, present, and future all of which are Ever-Present to form an aperspectival perception of the whole.
 
Those who have irrupted into integral-aperspectival consciousness have a perception of the whole via access to all of Time so as to be able to verition truth to a-ware and presentiate the basic contours of consciousness and Time as it manifests in the arts in all forms without becoming befuddled, confused, and bogged down in the process by inessential details which are largely irrelevant for consideration in the "broader scheme of things" but are the unavoidable consequences to deal with when one is faced with a multitude of dizzifying "vanishing points" in space without a perception of Time as "ever-present" which results in those who are befuddled by those many dizzifying objects in space to resort ultimately in either/or thinking by ignoring the objects altogether to focus only on the subject or the "I of the beholder" instead (as if he can crawl in through an oriface to get into their head). Yet in response to the question, "What Is Transcendental Art?" Wilber argues that "Integral art is not only about temporal time or not only about eternal timelessness," as if to assert that he or I-Integral is beyond the either/or thinking in duality so as to have a perception of the whole while having no perception or sensorium for time as ever-present and all the whole or while dividing "Integral Art" and "the Integral Artist" into subject:object dualities and then, via either/or thinking, choosing "the I of the beholder" or the subject instead via crawling through their oriface and going to their head.
 

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"

 

pretend-play more like it

 
Annie,
 
That is fine and well to permit the integralist plenty of play-room in the process of creativity. But if "Integral art" cannot ultimately be distinguished from the art forms of previous structures, we and the arts must ultimately dismiss the Integralist's activity as irrelevant "pretend-play."

So 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"

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The existential worldview is called �integralaperspectival� by Gebser -- �aperspectival� because it presents multiple perspectives, none of which are privileged; and �integral� because nonetheless some sort of unity, coherence, or meaning has to be fashioned in the midst of multiplicity. In the previous worldview -- the mentalrational, which Gebser also called �perspectival� -- the single, rational subject tended to take up a single, fixed interpretation of the world, and this was evidenced in everything from science (Newton) to philosophy (Descartes) to portraiture (van Eyck) to perspectivism (starting with Renaissance painting, especially Brunelleschi, Alberti, Donatello, Leonardo, Giotto). But with the shift to integralaperspectival, the subject itself becomes part of the objective scene -- the camera becomes part of the movie, the author�s stream of thought becomes part of the novel, the painter�s own operations show up conspicuously on the canvas. Multiple perspectives draw the subject into the world of objects, making it one object among many others, all lost in a dizzying regress of selfreflexivity, from which there is no escape.

Above it becomes very evident that as a consequence of his strictly spatial orientation, Wilber cannot differentiate the pluralistic green form of perspectivity, "multi-perspectival," from the integral form of perspectivity, "aperspectival" preferring instead to take Gebser's important insight on "the aperspectival world" by making "aperspectival" interchangeable with the multi-perspectival mental-rational green to thereby dismiss Gebser's insight on "aperspectival" as "aperspectival madness."
 
Nowhere in Gebser's writings does he endorse the mental-rational form of perspectivitiy, "perspective"--whether singular perspective of orange or multiple perspectives of pluralistic green. Examples of which can be found in abundance in existential philosophy, Dadaism, "Spiritism," occultism, paranormal investigations, to certain forms of Surrealism, and many other "isms": all of which are the relics of the postmodernism of his day and forms of multi-perspectival green.. In fact Gebser was highly critical of most if not all forms of "isms" created by postmodernism of his day (including the existentialism which Wilber erroneously associated with Gebser) for the fact that they attempted to transcend duality and "perspective" in space by merely re-immersing into irrational or pre-rational modes of expression and by supplementing perspectival orange thinking with more and more perspectival vanishing points in space for the sake of having multiple perspectives while remaining temporically-frozen in time. This resulted in the failure of most "isms" of postmodernism to ware the truth from an aperspectival perception of the whole and consequent inability to accept universal truths nor ability to break out of the dualistic mold or mode of thinking posed by perspectival thinking in space, such as existentialism's concerns over "being" vs. "non-being." Resulting in both "perspectival" orange and "multi-perspectival" green being spatially-bound and temporically-frozen in space and hence, perspectivally-fixed and dualistically-opposed to one or more fixed perspectival points in space--the only difference being that pluralistic green results in access to multiple triangular perspectival points in space as opposed to just a single perspectival point in space as in the case of rational orange. And the deeper and farther we extend our view into space, the narrower is the sector of our pyramid. This is true whether with respect to the singular rational perspective of orange or with respect to the multiple pyramidal viewpoints of pluralistic green. Simply having access to "more and more perspectives" in space does not resolve the problem of perspective but merely leads to this:
 



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.

 
A four-dimensional moving and transparent sphericity via the addition of the fourth dimension, time (aperspectivity) to three-dimensional space. This perception differs vastly from the multi-perspectival green of Integral Ecology or what Ken Wilber refers to as "aperspectival madness" due to his spatially-constricted worldview which lacks a sensorium for time and consequently cannot differentiate multiple perspectives of pluralistic green from integral-aperspectival.

"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.
 
More to come.
 

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Testing the validity of integral theory by applying it to art history

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 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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