#2A & #2B Reciprocity: Coherency and Organizing Principle

Anavami Center

Anavami CenterIn February we are exploring Reciprocity, the exchanging things with others. It is fundamental to the Marking practice and allows us to acknowledge the field as the collaborator in all our markings. We are inviting relationship with an animistic universe. The core of this point of view is contrary to René Descartes philosophy where he maintained that the only exchange is between humans as dualism of two finite substances, mind and matter. Many now in distinct fields like David Abram, ecologist and philosopher, Merlin Sheldrake, microbiologist and writer of history and philosophy of science and Arnold Mindell’s transpersonal psychologist, process therapist and writer for social change disagree with that limited view. Many other fields are expressing that the interconnection with our environment is already in place and instrumental to personal and planetary well-being. Our practice in marking is to perceive an open system where we can exchange energy or material with all life and objects in our environment.

Anavami CenterIn David Abram’s chapter on reciprocity in Becoming Animal he sets the stage for a different organizing principle where we cannot always apply logic perceiving, as nature is mysteriously interrelated. There are various ways to understand this greater connection. Heart Math Institute Research Director Dr. Rollin Mc Craty speaks of “an energetic alignment and cooperation, to manifest intentions and harmonious outcomes.” Through biofeedback research Heart Math suggests an organizing principle, which brings the brain, mind, body and emotions into balanced alignment and changes our relationship to everything. He calls this state as coherence.

This week for home-reflection we played with the Sun as orientation of directionality. It is metaphor for knowing where we are in a more expansive way than the binary left/right or back/front. We also used the Polyvagal theory as a metaphor. It points out that the vagus nerve running through the autonomic nervous system is the internal control center. It is the orientation of the critical functions of human physiology determining our reactions creating the difference in how our brain receives and responds to information. It is the guide to whether we are centered, connected and feeling safe or go into flight, fight or freeze. The polyvagal exercises help to keep us in that safe center so we can respond appropriately when necessary. It is a metaphor for our planetary sun as the central component of life. It is understandable how the myth narrative of our planetary people points to creation myths of the Sun-God from Egypt, Norse, Hindu, Mayan and the central figure in Christianity of Jesus Christ.

Anavami CenterCoherency, although often defined with logical interconnection or sense of understandability has a greater context. An aspect beyond this is the meaning of coherent as closely attached or connected, which is not always logical. The stories by which we make sense of the world, formed by inherited beliefs, are not always congruent with a greater perception, connection and exchange within the biosphere. Sometimes these are not brought to full consciousness until a great tragedy or decision must be faced. These beliefs are most often expressed symbolically in our creation myth. In our work this week we incorporated those myth stories as we explored our relationship with animism and allowed us to expand our reciprocity beyond just the mind matter approach to interactions.

 
 

Majio

 

In-Bodying the Field Blog #1D: Re-wiring, Metaphor & Bear of Gravité Poem, Tacking into the Wind

Anavami Center

Anavami CenterAs we Mark we are rewiring the way we perceive reality. What better paradigm than the academic training of visual arts and how deeply ensconced in materialism and economic machinery that world often manifests. Our interest is tacking in on the winds of intuition and the sensorial connection of the body as we develop the imaginal that leap of vision. Heart orientation is central to this process and as the HeartMath Institute explains through its innovative research in stress, coherence and heart-brain interaction, this requires some tools. We will look at their resources for optimal performance through coherence. The three most powerful techniques are Freeze-Frame®, Cut-Thru® and Heart Lock-In®.

Traditionally, the mythology around artwork is a dramatic angst of hair pulling, addiction, depression, revelation and elation. There is validity in this model in the arts that embrace the soul-searching roller coaster. The angst of the artistic process is aggrandized as we are looking for something outside of that model, an allowing of the full spectrum of emotions while we cultivate a resilience through coherence. We need not be lost to art but rather create approaches of marking as a way to cultivate sensibilities by developing a different level of awareness and response. In HeartMath the state of coherence is associated with sustained positive emotion and a high degree of mental and emotional stability. As we are rewiring how we perceive the reality that we have created simple HeartMath techniques can be adapted for our process. This is not to flatline but to know coherence and have the awareness to recognize how it nurtures authenticity, creativity and innovation.

Anavami CenterWe are not going for a product at this stage, nor are we going for good, it’s working or even finished. It doesn’t mean that those feelings are not a part of what we do, but we are not making artwork with that kind of navigating. We are experimenting, exploring, changing habits developing new awareness. The first step is to realize when you are working the old stuff, which usually brings forth comments like; I don’t like it! It is dark, light, no values What does it need? Can I make it work? Etc. It is valuable to realize when you are in judgement, working a strategy or trying in any way. If you are identified with the work then it is not what we are doing. Instead, we are developing a new relationship with who we are and the collaborative work that we do-collaboratively as well as a sense of release from detachment that will allow us to look deeper as we move through the rest of these marking sessions.

One of the tools we use is poetry, which acts as a leverage to create a more nuanced context for our work. In the In-Bodying Marking we often use poetry to shift out of the everyday mind and find that the use of words can extend our ideas beyond the literal. Jane Hirshfield’s short Ted Talk shows how this works as she asks how do metaphors help us better understand the world? And, what makes a good metaphor? she explores these questions with writers like Langston Hughes and Carl Sandburg, who have mastered the art of bringing a scene or emotion to life.

 

 

In exploring gravity & levity for a future In-Body marking session again the Great Bear emerges from my painting. It is not so much as the quality of poetry but the experience with the secondary process, which will be brought forward in another blog.

Tacking into the Wind by Majio

Great Bear with delicate feathered wings
holds me to his will for neuroplasticity
teasing me with dopamine until like Pavlov’s dog
my vision narrows and I am a circus two-stepping-bear
who I cried for as a child at the Russian Circus

The only motivation is survival and that is dim and twisted
my mind is no opponent, yet my animal body lurches
beyond the myopic blinders to slide from under the weight
to move until dancing takes hold, it is not fun it is not easy.

Markings first show from where I have come
then where I am…..way becomes the path
I tack into the wind

Majio

 

In-Bodying the Field Blog #1C: Slowing Down, No Inside/Outside & Life-force & Bear of Gravité Poem, Cup of Tea

Anavami Center

Slowing Down is the over-arching theme this week and we explore how it relates to inside/outside and KI life-force. Slowing down is accessing deep primordial space that is ever present with no inside or outside

Anavami Center“The innerness of the so-called world is nowhere so evident as in the life of our body. The air we breathe one moment will be breathed by someone else the next and has been breathed by someone else before. We exist as respiring, pulsating organisms within a sea of life-serving beings. As we become able to hold this more and more steadily in our consciousness, we experience relatedness at an elemental level. We see that it is not a matter of trying to be related, but rather of living consciously into the actuality of being related. As we yield ourselves to the living presence of this relatedness, we find that life begins to possess an ease and a freedom and a naturalness that fill our hearts with joy.”

M.C. Richards from Centering

Inside/outside is an expedient labeling that is useful but can also distort understanding of the whole. This is demonstrated in the concept of notan, where any mark is integral to the space around it, not separate but instead informing each other. We can easily see how locking into place as subject/background or object/space distorts the whole. This week in our marking endeavors we are exploring inside/outside in relation to body and like notan we are interested in the wholeness of container/contained and place in the field.

Anavami CenterAnother point in our context with marking this week is how life-force or ki or chi relates to this wholeness.  David Abram, in Becoming Animal, describes the shadow as not just a flat stain on the cement but really the volume of lightlessness. In the same way our markings, whether actual physical, material or in metaphor, are not simply residue.  A meager delineation of inside/outside or object/background would stunt the information that is held in the whole constellation.  We are seeking a volume that connects mark to history, place, event and context and is graphically evident in drawing where we see how the non-linear time of the psyche interacts and constitutes that volume.

In the imaginal field consider that there is no outside/inside but as you breathe there is a constant flow of contraction/expansion. Just at last we felt the constant give in our relationship to the substrate of our marking and marking implements, we considered the requisite yielding.

Cup of Tea
By Majio

dropping down into the arm chair
           into the lap of the blue-winged bear
                   cup of tea in hand rises and falls
                            with the lever of my arm
                                   to absorb the sudden change
                                           of altitude, without spill

steam streaming upward
liquid surface flattens,
brought to my lips—which open
to admit… pool in my mouth
shooting like a shot
down my throat—chest
into the center of gravityMajio

 

In-Bodying the Field Blog #1B, Imaginal Realm: Psyche and Social Change & Bear of Gravité Poem, Lavender Bath

Anavami Center


These blog posts articulate the on-going context of

 In-Bodying the Field, Marking Seminar

Blog Post #2: Imaginal Realm for Psyche and Social Change

 

Imaginal Realm for Psyche and Social ChangeIn-Bodying the Field has the intention to radically shift how we perceive reality using visual arts. Marking is the instrument we use in this audacious endeavor. Marking is defined as traces left by motion or pressure but also as a metaphor.  Imagining a musical instrument is apt, although we are less concerned with a rote practice of technical skill and rather seek an embodied evocation realizing another level of relationship.  Marking is potentially a conduit that bonds us through the body to the greater biosphere accessible all along but usually bypassed by the Over-culture.  We are seeking a practice without a goal but with a strong intention.  The world seems ripe for this as we see others pursuing these same goals.  In Moral Imagination, imagination is used to embody and explore the unseen, to create a greater connection of us. It is an adventure into creativity for change inviting new possibilities outside the solely reductionist, rational and linear modes of putting together information. It is a practice of collective imagining in order to increase radical kinship with the human and more-than-human worlds, present, past and future.

In this process of In-Bodying the Field, we explore creative expression through somatic inquiry to shift our understanding and perception of here to unexamined systems as a way to participate in the world as collaborators rather than sole agents by:

  • Imaginal Realm for Psyche and Social Changeembracing proprioceptive intelligence to nurture more creative & innovative understanding beginning with the body.
  • opening a dimensional portal through the imaginal realm.
  • expanding these perceptions and orientations through mark-making.
  • cultivating awareness of lived experience as in-formation through than the familiar and habitual.

 

As conduits of the metaverse marking is a means of participating as artist and shamans of ancient times who serve, heal, guide and inspire the community. We found a great resource in Josh Schrei’s The Emerald podcast. The Body as Metaverse speaks of several issues that are germane to our process. For example, our interest in changing the story is leveraged by his discussion of mythic narrative and his deep understanding of those stories as living narrative.

Imaginal Realm for Psyche and Social ChangeThe podcast, Body is the Metaverse, talks about the deep mythosomatic function that we long for that the digital Metaverse or virtual otherworld does not provide. They spark our understanding of our morphing stories as we use myth as a reminder of the greater context. This takes us into nature, into our planet, into our belongingness and therefore into our body. We offer up our experience to others. But at this point, most importantly, we experience for ourselves how the body is the connection to the life of the world that we are an integral part.

https://player.fm/series/the-emerald/the-body-is-the-metaverse

 

Lavender Bath as Bear of Gravité by Majio

Imaginal Realm for Psyche and Social ChangeHaving gone to bed by myself last night
you can imagine my surprise this morning
when I awakened to a bath being run.

It was a lavender-salts baths with a single candle
sitting in the tub half fluffy above the water line,
water be-draggled below it, was the Bear of Gravité.

To say I joined him/her is misleading, for I as I stepped
into the fragrant steaming bath, I became bear,
seated in stillness, blue feathered wings folded
upward, over-lapped pointing vertically

Total stillness brought one end of the double flame
to bob on the surface without candle in the lavender bath.
The slightest quiver shattering the light language
script on the water surface from intimate whisper
to haggling amongst the market stalls.

So began conversation between movement and light
that only the Bear of Gravité can have.

The inclination is to focus on the screen
of the water’s surface, breaking, dispensing,
fetching, reconnecting the light like ideas,
but what about the language between the candle flame
and the water’s surface and the light in the water?

The air-light, falls not just down but out, up…
it can be cupped, divided, sprinkled or eaten, while
the wet-light defusing loosening its concentration
to mix with lavender.

And yet it is the tension of the screen of surface
that is the playground for marks, a screen of reflections—
stretching, squeezing, melting and twisting,
an original appearance in distillation of essence.
Candle light marks on surface of lavender bath

Majio

 

In-Bodying the Field Blog #1A: Introduction to In-Bodying Marking, Yielding: Gravity/ Levity with Bear of Gravité Poem

Anavami Center

Gravity/Levity-Yielding with Bear of Gravité Poem

Anavami Center, In-Bodying the Field explores not only marks, but entries into marking that for a practiced artist can redefine relationship to materials, images and the world. For the unpracticed it begins a fluid interaction with the world that in time will transform your present definition of art and your participation with it. For everyone it has an impact on how we see and perceive ourselves in the world. The work that arises from this kind of exchange is playful, adventurous yet ever risky. A challenge to most by not trying to be right or good. It flies in the face of the social norm and to most hits at the core of self-identification. At the same time, it opens new ways to witness creating.

Five years of implementing and exploring in this way I have found that I am much more aware of my relationship to everything in my world. I am not separate, nor could I be. Like many of you I have known this theoretically for a long time, but it has not been alive as it is now. I am not making art but participating in the creative exchange with which I am in relationship.

In this six-month series we start with the basics of marking making as yielding that orients us in space. Our mind/body is a fluid edifice of incessant motion that sources our capacity to mark in the greater field to which we belong. As we gain deeper insight, experience through exploration into markings it becomes clear that it is fundamental to all exchanges of information, communication and expression. Using our body, transmitter, receptor, and archive, as the template of the Universe…. the history of evolution of our planet is within us we will explore the template of the cosmos through what is most intimate to ourselves. The intention of this work is to discover our individual voice as we develop expression of the poetry as we live on the planet at this time.

Investigating gravity in our marking circle, both somatically and in terms of shapeshifting, a series of somatic experience with poems arose for me. The first being:

Blue Winged Bear, mixed medium, canvas, 3’ X 6’

Blue Winged Bear, mixed medium, canvas, 3’ X 6’

Bear of Gravité

the great Bear of Gravité

            sat on me this morning

                        like the Chinese ghost

who sits paralyzing you in your bed

I appealed to her blue feathered wings

            to flutter and lift into the air

                        but not the slightest movement

                                    nor levity

In time I found my way into her vast heart

            Huge—full of stars and planets

                        un-named things of color and darkness

 I did nothing there….

for a long time…. but feel into the space

and when I was no longer pinned to the bedsheets

I got up for a cup of tea…

Majio

 

Shadows, Markings, and Synesthesia

Anavami Center

Transformational Painting Circles

On Fridays 10 a.m. to 1 p.m. Join us in large format acrylic painting sessions getting in touch which our instinctual side. Moving beyond the Skeleton Woman Story https://anavamicenter.com/transformational-painting/ to the medial partnership.

Marking Session at Studio & on Zoom:
In-Bodying the Field: 6 months of Mark-making from January

We are exploring mark-making as a medium to change how we have learned to perceive reality. Marking in this sense is an exchange, an interaction as marks must be received as well as made, whether on paper, a city road or in a conversation.

Books of Interest:

The Coddling of the American Mind, by Jonathan Haidt & Greg Lukianoff
This is a book for anyone who is confused by what’s happening on college campuses today, or has children, or is concerned about the growing inability of Americans to live and work and cooperate across party lines.

Fabric of Wholeness: Biological Intelligence and Relational Gravity, Carol Agneessens, through experiential dialogues, draws us into the body to view the pulsating and vital interplay. She concludes that gravity is fundamental to the development of biological intelligence — the glue that holds together and organizes our fabric of wholeness.

Websites of Interest:

https://www.moralimaginations.com, collective imagining to increase radical kinship with the human and more-than-human worlds, present, past and future.

https://strangerworth.com
Paintings by Pamela Holmes

December Sidebar

Retreat 2022:

San Miguel de Allende Fall, accepting registration.

Shadows, Markings, and Synesthesia


Paper ‘mask’ used in monoprint

In Anavami Studio we see marking, not only as a foundation of the visual arts but as metaphor and at the same time an appearance of our relationship with the world. We are exploring mark-making as a medium to change how we have learned to perceive reality. Marking in this sense is an exchange, an interaction as marks must be received as well as made, whether on paper, a city road or in a conversation.

Our working definition of mark-making is leaving a residue or impression with movement or pressure. This can be any kind of physical trace, but also a mark can be left on one’s emotions, intellect or psyche. Marks are conduits of information as they are ways of interrelating not in the world but with the world. Our marks are informed by the very matrix in which we live. The greater field is alive, impressing on us as we in turn to press back leaving marks. There is a mutual yielding as well as a mutual learning, as we exchange information. This yielding is more than allowing. It requires an ability to give as well as receive. Just as in traffic sign, yield involves a slowing our trajectory in order to be aware of others movement and speed, which everything in the Universe has. It is a different dynamic to halt at a stop signs where you expect to take turns. The giving and receiving in mark-making as in traffic has consequences.


Monoprint using ‘mask’

I would also suggest that marks are not flat two-dimensional residue on a surface but more like your shadow stretching before you, deep blue on the asphalt. That shadow fills the space between you and the elongated mark staining the street. It is actually voluminous. When something enters the space between you and the pavement, a cat or fire engine, in the moment it is changed. Their light is disturbed. There is a vulnerability in the distance the shadow travels. There is a life force in that volume, a textural signature of its source. Like the mark it is porous, open to vicissitudes of the time and place. It could even be said to have an intelligence. There is more intelligence around us than we are like to recognize. In times of crisis an extended understanding of intelligence is valuable.

In Hidden Blessings, Psaris talks about life crisis, no matter the age as an opportunity to awaken. She goes on to say that the success of any life-crisis-transformation depends on our ability to allow the soul (ourselves) to evolve beyond the ego structure encasing it. Our ego is not only anthropocentric, judging intelligence and power as human based but also biocentric, projecting that only living things have consequence especially is they are human.


Print from folded ‘mask’

Just as habit does not recognize the volume of a shadow ego is blinded to the psychological function of its shadow, a metaphor and expanded perspectives. At this time in history, our world is in crisis with the need of sweeping new perspective. For most of us the best thing that we can do is tend our own garden, which in actuality calls for persistent courage to redefine our place in the world. Crisis asks for marks of a new order that stretch habits of identification. The ego’s shadow does not see what it is projecting on others without careful scrutiny. In shadow work we see how anything that riles us has much more to do with ourselves than the other. We can only see, literally and figuratively, the fullness of our shadow through imagination.

To tweak those perception that are so ingrained we need to cultivate the imaginal domain. It is much more a part of our life than we acknowledge. Dream worker, Jeremy Taylor described that space between conscious and unconscious as not-yet-speech-ripe. We know but it takes imagination to bring it to consciousness. The more that we call on the space between knowing and not knowing the more that it is available. In this province, as witnessed in any craft that reaches artistry, fundamental truths brought to vision. Marking is more than the flatness of streaks and strokes on a page. There is a qualitative difference between a shopping list or a poem.. And yet there are poems that are really shopping lists and shopping lists that are poem depending on how the imaginal is sparked.

Not imagination but the imaginal realm stretches our senses. In synesthesia, a neurological condition, information meant to stimulate one senses instead stimulates a different one altogether or several —music is seen in colors, architecture has a taste, or sound appears as shapes. We all have a little bit of this, for the channels are informing each other far beyond our expectations and habits. We expand our sensitivities in the imaginal, which adds another layer of information and relationship to how we exchange with our world. The volume of shadow, yielding as a way of encountering the world, the extended understanding of intelligence and crisis as opportunity are all ways of create by changing how we perceive reality.

(A mask is used in printing to block the ink from the plate to the paper. The shape of the mask was from the photograph of the shadows of two people standing together.)

 


These two diptychs incorporate pieces torn from the earlier prints as way of developing and finessing the image in collaboration with the field.

Majio