Spatialism

Spatialism is the view that ideas exist as spatial relationships before they are translated into symbols and words. Born into environmental space, we feel the close and far of things around us. The meaningful qualities inherent in a scene are universally understood because they rest on the collective experience of living and moving in space. Everyday of our lives we evolve our conception of our material surroundings which we use later to describe the feelings of our life experience. We understand down and up and general concepts: to be down means inactivity whether caused by sickness or sadness. Even before the family shapes social structures with its own systems of causality, there is gravity and all of the implications of above and below that derive from it. The universal biological priority, homoeostasis, our striving toward balance, whether as an infant learning to stand or a middle aged adult setting satisfying goals, is the same structural motion. Alfred Adler said we are always moving from a minus to a plus situation, driven by inadequacies to accomplishments. We strive to stay up. Motivation areas are associated with dissatisfaction, goals directing action to re-satisfy. From the beginning of life the challenges of  balance and changing surroundings have created isomorphic structure in the brain that sees spatial patterns unfolding and anticipates needs of movement. No matter what the culture, this set of concepts is universally understood, because as the same species we use the same strategies to navigate the world. This is why visual art is so easily understood across cultures. Visual art creates relationships in space that are understood without verbalization. Art is the sophisticated expression of these visual relationships and speaks to the core understanding of meaning.

   This spatial quality pervades thinking. If you want to remember something you go back to the place in your mind. We have vast rooms of information available through our spatial organization. Not much attention has been paid to this because moving in space is just beneath conscious awareness, mapped in the hippocampus and imprinted in the cerebellum so we can use the cortex for learning more about useful patterns in the world. Completing patterns is how we predict what may be required. The understanding of the features of a spatial world structures whatever we think about.

 When Jung wrote, “Image is psyche” he was pointing out this correspondence. Our relations with others are characterized as “close” or “distant” and interpersonal power structures are coded directly into the amygdala so we feel our status as part of recognizing another person and that status shifts with every relationship.

Philosophies based on laws and absolutes can’t adapt to a changing world. The visual instinct doesn’t need to have seen a situation before to know how to adapt to the structure it presents and find balance. Nothing stays fixed in a world that evolves and grows so the best strategy is to develop intelligent perception of the spatial qualities. Strengthening our ability to predict from unfolding patterns and recognizing the implications of situations we may not have seen before depends on understanding spatial relationships not the identity of things. The education of visual intelligence is as simple and pleasurable as looking at art. Seeking it out, noting preferences, following them to other previously unknown art builds a personal connection to deeper structures. The preferences show something true about the feeling of life for you. Visual consciousness finds the truth in the whole. This is best shown.

Advent

Visual Consciousness

In the sphere of perceptual knowing there is a space where everything is happening. It is a single arena fluctuating to include anything that triggers sensation. If you close your eyes and listen, every sound takes place somewhere in this field of consciousness from the boom of a faraway explosion to an insect buzzing nearby. So the first meaning is where something is in relation to us, closer having more urgency. Even when we’re talking about sound we create a space and what’s in it is located somewhere in visual consciousness. Thinking coexists with sensations in the space of what’s known to perception but it’s just a trail through infinite space like the vapor behind a plane.

 Scientists have shown repeatedly that action between neurons involved with a decision precedes conscious awareness of making the decision. Though some claim this means the machine/brain is the agent and not individual free will, that doesn’t consider the key role of the overall visual assessment that directs conscious attention. Perhaps you never even thought you were making a decision as your eyes zeroed in on one part of your surroundings, but spatial understanding adjusts to the needs of the scene whatever you consider the scene to be, physical or mental. Feeling is the awareness of that adjustment. Attention is moved by visual consciousness. We know what fits and doesn’t fit and where things are out of proportion. This capacity is essential to our reasoning in all areas. Since visual consciousness sees the implications of the whole, cultivating response to visual form tunes pre-analytic assessment. Having art you love around you reinforces something particular in the feelings most valued.

Looking at art trains visual consciousness, reinforcing our sensitivity to nuance and essence. This is particularly important in such an information saturated global culture. Having so few words, “feelings, emotions, intuition,” for highly intricate judgments of proportion, most people don’t credit the vast level of intelligence that goes on before what they consider thinking even starts. As I say to my students, we react to a scene before we recognize what we’re seeing. The meaning of its structure has already been registered. This predisposes where we look and how we take what we eventually identify. Becoming aware of that level of thinking is an important step toward the wisdom of visual consciousness.

When Alan Watts advises us to think of the thoughts that arrive while meditating like waves swirling around the rocks, going as quickly as they arrived, our feelings would be the character of the waves. Whether they are gentle or rough carries a more important meaning for how we behave. Feeling represents an overall assessment by the whole mind, a prediction of what may unfold and how to respond to it. Looking at art educates the sensitivity to significant pattern, to harmony of proportion. Visual consciousness sees excess and absence and how to address an unfolding condition, giving us tools to tackle global problems that interpenetrate many areas and can only be solved by seeing the whole picture. Having skills to present information as visual relationships helps people understand at a glance the relationships and what they mean to the whole.

Cycle of Anticipation

Cosmic Order

Every type of art connects us to chords of feeling that are understood in a primal way through the shared experience of keeping balance as a human being. This automatic balancing act of vision is ongoing. Science tells us that 90% of our sense of balance is visual and when I ask my class to stand on one leg with their eyes closed I see how true that is. Most begin to wobble within seconds and the few that stay upright initially show a concentrated awareness of position I associate with dancers and meditators, people who do yoga. And even then, without sight, they’ll eventually begin to sway. We depend on what we see. It’s instantaneous, an adjustment of the body to surroundings. What we feel is that adjustment registering in conscious awareness. When something feels wrong with the scene in front of us it’s the eyes that find what is out of balance, whatever doesn’t belong or is absent. We feel it before we find it, directed by what vision senses.

It was the philosopher Gurdieff that once said, “Feeling is the foundation of common sense”. The overall sense of things is represented by a complex interplay of feeling that can be very precise yet verbally unnameable. Art develops responsiveness to the overall feeling so we can better recognize the important patterns. A composition is always a state of balance showing whatever is relevant to us about that feeling. It presents a set of relationships that we understand as though confronted with them in reality, but the artist pares it down to what really matters. Looking at art develops that capacity to see what counts. Because it depends on the overall sense of “what fits” as Nobel winner David Bohm puts it, “All of our concepts and explanations… have at their core the perception of a totality of ratios or proportions.” In his book “On Creativity” he writes, “The role of art…is not to provide symbolism but rather to teach the artistic spirit of sensitive perception of the individual’s particular phenomena…” It can be a spur to psychological insight and philosophical modeling.

The philosophical expression of overarching connectedness has been a subject for spiritual vision expressed independently in different religions yet sharing a basic structure

Though the Above/Below structure of most western religious imagery is most familiar Mandalas have expressed unity of the whole, nested structures as the underlying patterns of the universe. In a center based form there is no window, no single point of view . All is within the cosmic whole.

As a Christian saint, Hildegard of Bingen’s cosmology showed with painting the whole of creation as divine, expressed as harmony and balance. She used circles to show a reality that is all inclusive. Her image of us as a body within a soul and not the other way around transcends the separateness that’s seeped into religious attitudes of all types. She used images to illuminate a larger view of the cosmos, a visual philosopher.

She shows the dimensions of reality as nested, one type of energy enclosed within the next, like the layers of an onion, all enclosed in the arms of god, an archetypal image re-envisioned not as above but around, something we’re are enclosed within, a visual idea that can radically change the way we see ourselves in reality. It’s how the human body is organized, layer upon layers with subgroups of layers. It makes sense that we would be enfolded in layers beyond the power of our perception.

Anticipation 4

Goodwill- A Police Story

       Recently I read that of the 12,000 police officers in Chicago just over a hundred were responsible for a third of the misconduct. This points to the obvious question of “What are they still doing there?” But more important is how many good police are being dragged down by a few.

  The police officer I met today was one of the unrecognized majority. I was waiting for a tow truck in the rain and had long since used all my quarters in the meter. It had been  flashing “Empty” for over an hour so I’m expecting the police sooner or later and desperately hoping the tow truck arrives first. My heart sinks when I see the uniform heading my way, and I jump out of the car to explain that the truck should have been there by now.

     Before I can open my mouth she asks, “Are you alright? I just wanted to make sure you’re alright.”

    The concern on her face touched me and settled my agitation like a tonic. I told her my story and she nodded sympathetically.

     She says, ” You want me to get you a tow truck?”

     Like a magic wand blasting away my mistaken assumptions, her solicitude spread around me like a sheltering wing. That was what I always liked about Sheriff Andy of Mayberry, his attitude toward the town was protective, everyone a real person and not a category. By his gentle interventions he rebalanced situations before they turned worse. I thought his type had disappeared but I was wrong. The fact that she was standing out there in the rain offering to help me set things right soothed my spirits when my mood had begun to deteriorate badly. Gratitude is healing and gratefulness for her caring stimulated ripples of gratitude for all the systems that support me. I thought of all the police officers who probably view their jobs like she does, who offer a sense of security to an area they know well enough that they can solve and defuse problems before they arrive. Like Andy’s, their goal is a peaceful community. The misconception that leads us to expect the police to brandish their authority grows from the misrepresentation of police behavior on the news. By playing the same incidents over and over the images are reinforced in the circuitry of our brain creating negative expectations whenever we see a uniform. Lots of people have probably had similar experiences to mine and know differently, but it’s personal knowledge. Where there is no first hand experience there is nothing to contradict the distorted view given the public mind, planted by repetition of the worst.

     I wonder what would happen if the news restricted itself to what actually happened that day. It’s because they repeat the same stories and footage for weeks the impression is made that the police are a brutal force that treats the neighborhood in their care as “Other”.   But how much of real day-to-day policing is actually more like my experience. But for the repeat-fortified mental circuits created by negative images, we could see them as sources of help and not sources of danger.

     Recently I heard a Ted speaker suggest that violence is catching in the same way as illness, that being surrounded by it increases the chances you’ll act violently. Media should be accountable for the misrepresentation created by the repetition of the same incidents day after day, building the unconscious impression it happens all the time. Creating a climate of goodwill might have the same power, with emphasis on alliance and cooperation instead of antagonism. If my officer had been wearing a body camera, the footage of her generous spirit would have lifted people up just like any good example does. Maybe such a large part of the public wouldn’t be reaching for politicians that feed on their fear if the more accurate picture of human goodwill was part of our daily news.