Monopole Catastrophe
“Painting is a thundering collision of different worlds,
destined to create a new world. Technically, every work comes into
existence as the universe comes into existence, namely through
catastrophes.” -Kandinsky
As a conclusion to
our summer research project, we present the digital animation titled
“Monopole Catastrophe.” This title refers to a scientific theory
which proposes that we live in a false vacuum. Upon decay of this
vacuum, caused by a lower energy vacuum, the earth would be instantly
destroyed, and a new vacuum would emerge at light speed with
fundamentally new constants of nature. Some theorize that this event
may even be triggered by experiments using high energy particle
accelerators. Such an event seems to be highly unlikely, though as a
possibility open for consideration, it points to the vast
transformable underpinnings of reality.
In relation to our
work, we considered this notion not in a destructive sense, but as a
way to be open to the awareness of the infinitesimal conditions that
our existence is dependent upon. Since the first moments after the
big bang, it appears that the universe has followed a narrow path
eventually leading to life emerging on this planet. Whether we
consider this to be the workings of a Creator, Higher Intelligence,
or simply random processes, it is hard not to be in awe of our place
in the universe in view of all that our existence is founded upon. In
our day to day lives, we live unaware of this foundation as we
attempt to secure our existence and meet the demands of our
self-image.
In primitive times,
myths and rituals were created out of the wonder of the life giving
aspect of reality and the terror of the destructive aspect of
reality, providing a space for directly being in tune with the flow
and rhythm of creation. Progressively in modern times, as myths and
rituals fade from our attention, we are becoming atomized, fragmented
into specializations, and led by a partial segment of our self. Our
elementary schools and universities are increasingly driven by
measurable interpretations of retained knowledge and arbitrary
ranking systems. How devastating this has been to those qualities of
self that can not be measured! An over emphasis on rankings by
outside agencies is reflected in students lack of self awareness.
This approach is as doomed to fail as an individual who basses his
understanding of himself on the opinions and credentials of others.
To be sure, curiosity, creativity, originality and vision have not
been completely suppressed, but rather than being used as instruments
to gain deep insights into the nature of oneself and reality, they
are twisted to manipulate oneself within the technocratic system. It
is no wonder that this lack of curiosity and depth is reflected in
some of the nation's foremost leaders.
The point we are
making here is that as we are increasingly becoming detached from the
interdependence of reality, we become excluded from the creative
depths of reality that make available both fundamental physical
transformations and psychical transformations. For a monopole
catastrophe can also be seen as a metaphor to an inner spiritual or
self-catastrophe.
Just as the limitless
abundance of physical reality from the quantum to the chemical that
compose our being in the world evades the narrow scope of our
conscious interaction with the world, the depths and components of
our inner psychical reality that form our viewpoints go undiscovered,
ignored, or concealed. There is a discernible anesthetic effect that
credential centered society produces in relation to ancient human
enigmas and the rawness and vitality of life lived without
obstruction. Subtle barriers are erected through body language,
inflection and what goes unsaid that guide a world view in which the
invisible, numinous qualities of reality are placed out of bounds, or
studied in the form of powerless and distant representations. In
turn, hidden aspects of the self are left stagnant, thus eroding the
connection to the inexhaustible depths of mind. As this connection is
minimized, creative potentials ready to be awakened within ones self
command little attention, and the mist of pervasive diversion clouds
our inner vision.
As artists, there is
no more a vital impulse then to reconnect our selves with the
original life giving nature of reality in its fullness of spirit and
eternal unity. This has been one of the primary missions of art
throughout the ages, although now, when the disconnection to the
numinous is growing, it seems to be an all the more needed yet
increasingly insurmountable task. As products of this modern era, we
can not separate ourselves from it, or simply revert to earlier modes
of expression. We must face this apparent disconnect head on, and
create ways to reunite with reality through reenvisioning and
recycling the outputs of our technologically immersed society.
The visual material
for “Monopole Catastrophe” originated from abstract acrylic
paintings. Portions of the paintings were digitally photographed and
edited on a computer. The program Studio Artist was acquired with our
grant funds and allowed us to animate the painting manipulations. We
then composed the animation with original music using Final Cut Pro.
Through an
interweaving of digital processing, the initial paintings took on
utterly new forms, expanding and contracting within various levels of
abstraction. The world of the paintings collided with the realm of
the digital, creating a new totality not reducible to the two. As a
result of this impact, the images were brought back to life, surging
forward rhythmically moment by moment. The viewer is left grasping at
the images as they inextricably flow by. Memory, conceptualization
and anticipation fail to take in the fullness of the movement. One
may however, if one chooses to open oneself, step into the stream of
experience, letting the transformations of light and sound surround
them.
Rather then side
stepping the issue, this film takes on the modern day atmosphere of
disjointed reality directly, bringing it to its logical conclusion in
catastrophic terms. Whether the dynamism of movement and the surplus
of color merely mirror the excesses of our times, or breaks free
towards an exuberant beauty, it is hard to say. The film poses not as
an answer to the dilemma, but highlights what is at stake. As we find
ourselves searching for the lost connections and hidden dimensions of
human experience, the fragments of the self may need to be broken
free from their rigid enclosures rather then simply rearranged. In
seeing through the transitory nature of forms, exterior
identifications, images and labels, a remembrance of interdependence
with the world may emerge. Freed from the limitations placed upon
one's self, and out of closeness to creative reality, unified being
and true individuality may be possible. It is our hope that this may
be brought to the fore in the realm of art, for otherwise, the unity
of reality, and of our dependent existence within it, may make itself
known through outer catastrophe.