Synchronicities 4:4

Rochester Institute of Technology

RIT Scholar Works

Theses

Thesis/Dissertation Collections

7-23-2007

Synchronicities 4:4

Emily M. Sperry

Follow this and additional works at:

http://scholarworks.rit.edu/theses

This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contactritscholarworks@rit.edu.

Recommended Citation

SYNCHRONICITIES 4:4

Video &

Audio InstaUation

BY

EMIL Y M. SPERRY

THESIS

Submitted in Partial Fulfillment of the Requirements for the Degree of

Master of Fine Art in Imaging Arts

Rochester Institute of Technology

Myra Greene

Myra Greene, Chair

w.

Osterman

Willie Osterman, Committee Advisor

Date

Nancy G. Ghertner

RIT

DML Electronic Thesis &

Dissertation (ETD)

Thesis/Capstone Project

Author Permission Statement

Title of thesis/capstoneRoject: I I I I S10f)CkH]W\ iCc\ QS y :

' I

I,

Em \

L

~

\

..

AA

d

peX-C\j

,

hereby grant the nonexclusive license to the Rochester Ins Itute of Technology DIgItal MedIa Library (RIT DML) to archi ve and provide electronic access to my thesis/Capstone project in perpetuity.

I hereby certify that, if appropriate, I have obtained and attached written permission statements from the owners of each third party copyrighted matter to be included in my thesis/Capstone project. I certify that the version I submitted is the same as that approved by my advisor and/or committee.

I hereby grant to the Rochester Institute of Technology and its agents the non-exclusive license to archive and make accessible my thesis/Capstone project in whole or in part in all forms of media. I understand that my work, in addition to its bibliographic record and abstract, will be available to the world-wide community of scholars and researchers through the RIT DML.

RIT DIGITAL MEDIA LIBRARY NON-EXCLUSIVE DISTRIBUTION LICENSE

In order for the RIT DML to reproduce, translate and distribute your submission

worldwide, your agreement to the following terms is necessary. For works with multiple authors, the submitting author bears responsibility for complying with this license. Please take a moment to read the terms of this license, fill in the information requested, and sign and submit this license to the community administrator.

By signing and submitting this license, you (the author(s) or copyright owner) grant to Rochester Institute of Technology (RIT) the

non-exclusive and not for profit right to reproduce, translate (as defined below), and/or distribute your submission (including the abstract) worldwide in print and

electronic format and in any medium, including but not limited to audio or video.

• You agree that RIT may, without changing the content, translate the submission to any medium or format for the purpose of preservation.

• You also agree that RIT may keep more than one copy of this submission for purposes of security, back-up and preservation.

• You represent that the submission is your original work, and that you have the right to grant the rights contained in this license. You also represent that your submission does not, to the best of your knowledge, infringe upon anyone's

copyright.

• If the submission contains material for which you do not hold copyright, you

represent that you have obtained the unrestricted permission of the copyright owner to grant RIT the rights required by this license, and that such third-party owned material is clearly identified and acknowledged within the text or content of the submission.

• IF THE SUBMISSION IS BASED UPON WORK THAT HAS BEEN SPONSORED OR SUPPORTED BY AN AGENCY OR ORGANIZATION OTHER THAN RIT, YOU REPRESENT THAT YOU HAVE FULFILLED ANY RIGHT OF REVIEW OR OTHER OBLIGATIONS REQUIRED BY SUCH CONTRACT OR AGREEMENT.

RIT will clearly identify your name(s) as the author(s) or owner(s) of the submission, and will not make any alteration, other than as allowed by this license, to your submission.

RIT DML

Emily M. Sperry

#.

3

1)

(Cft

Da e Signature

SYNCHRONICITIES

4:4

Video

&

Audio Installation

by

EMILY

M.

SPERRY

MFA

THESIS

PAPER

Submitted in Partial Fulfillment of _{the Requirements for the Degree} of

Master

of

Fine

Art

in

Imaging

Arts

Rochester Institute of

Technology,

Rochester,

New

York,

2007

wrily

w-

sPen

This thesisprojectis dedicatedto_{my father,}Glade

Sperry

_Jr.,

ACKNOWLEDGEMENTS

Many

sincerethanksto_mythesis committee,MyraGreene, NancyGhertner,

andWillie Osterman fortheirhonest andthoughtful _feedback, extensivepatience,and

unwaveringsupportofthiswork asit developed.

Iam_{greatly indebted}to

Sally

Steenfor herenormous

help

with_installingthe

exhibition, andwould also liketoacknowledgeJeanette_Karhi,

Corey

Adams, Sharon

Quimby,Elizabeth andKevinLamark, andJimBoberfortheircontributionstothis

project.

Thankyouto _{myfamily, friends,} andR.I.T.professors and associatesfortheir

continuingbeliefinme. Withouteachof_{these people, this thesis}would nothave been

possible.

SYNCHRONICITIES

4:4

by

Emily

M.

Sperry

ABSTRACT

This thesispaperexaminestheworkpresented_{in my M.F.A.} thesis installation

Synchronicities4:4. Thepaperexplorestheaesthetic andtheoretical concepts compiled

within_{this project,}in orderto revealthemindset and motivations oftheartist. Elements

coveredinthis textinclude installation_design, research ofits conceptual_history, and

citationsofvarious artists _{working in}similar methods toachieve equivalent creative

goals. This thesisproject usesthemediums ofsound andvideotoelucidate a greater

understanding ofthe realms ofhumanawareness,particularly inrelationto themystical

characteristics of_{invisible sensory information.}

This thesisdescribes theories of_{synchronicity}

by investigating

themes ofpsychic

perception, spiritual_{communication,sensory} awareness andanomalies

including

cross-sensoryexperiences,hallucinations,and enhanced insightrelatedtoa deepened focusof

concentration. Thesetopicsaredepictedandfusedas various aspects ofthe experience

of_{synchronicity,}or_subjectivelymeaningfulcoincidences. Thisinstallationseeks to

create synchronicities within itsvisual and audio structure as anindicationofthe

phenomenon of_{synchronicity}intheworld at large.

As an artistIhave alwaysbeen drawntoexperiencesthat canbe categorizedas

paranormal. Ihave spent yearsresearching, opening mymindtonew_{possibilities,} and

creating artworkthatdealswith theperceptionof_realityandtheexistence of unseen

realms. Whileat one time_{I may have} consideredtheseconcepts_fictitious, I havenow

cometoregardthem astruthswithinthe fabricof existence. Thisthesisproject isan

appropriateculminationand reflection of_mypersonal arthistory.

TABLE OF

CONTENTS

ListofFigures vi

Installation 1

Images 9

Audio 12

Conclusion 20

Endnotes 22

LIST OF FIGURES

Figure 1. FloorplanofSynchronicities4:4. _{Sperry, Emily,} 2007 1

Figure 2. Example ofsynesthesiainwrittenlanguage 5

http://en.wikipedia.Org/wiki/Image:Synestheticwiki3.png

Figure 3. Stillimage from Synesthesia. _{Sperry, Emily,}2006 6

Figure 4. Black Spot I. _{Kandinsky, Wassily,} 1912 7

http://www.ibiblio.org/wm/paint/auth/kandinsky

Figure 5. InstallationofSynchronicities 4:4. _{Sperry,Emily,} 2007 9

Figure 6. Stillimagesfrom Stellar. _{Brakhage, Stan,} 1993 10

Figure 7. Stillimage from Mutations. _{Schwartz, Lillian,} 1972 11

Figure8. InstallationofGhost... A Border Act. _{Hamilton, Ann,} 2000 18

http://www.pbs.org/art21/artists/hamilton/clipl.html

Figure9. Excerptfrom Concertfor Piano & Orchestra. _Cage, John, 1958 ... 19

Pritchett, James. The Music_ofJohn Cage. Cambridge_Press, 1993

Figure 10. InstallationofSynchronicities 4:4. _{Sperry,Emily,}2007 20

INSTALLATION

Synchronicities 4:4isamultiplevideo and audio installation housed inadarkened

galleryspace. Walls blockoffthearea aroundthe_{installation,} and attheopen_entry

point, sheer curtains

hang

from floortoceiling. These _signifyatransitionintoan ether

likearena,where a_curved,thirty-foot_{long by}eight-foottallscreenfills thespace. Four

videoprojections illuminatethescreeninahorizontal_row,and rows of chairs allow

viewerstosit andlisten using_headphones,whichhighlightthedense layersof audio.

2DVD

PlayerV*"-->*_Projector

[image:11.527.62.391.252.466.2]

SheerEntryCurtains

Figure 1. FloorplanofSynchronicities4:4.

Thevideo and audio components loopincyclesthatare_slightlyoverfourminutes

long. Thefourvideoprojections run_{simultaneously}and repeat. Eachtime thevisual

patterns_recur,one offour differentsoundtracksplaysintandemwiththe_images,

establishinggreater synchronous associationsasthework progresses. The runtimeofthe

overall projectis justunder seventeenminutes,whereuponthecycles resume fromthe

illuminatethetransformativerealmsofpsychic awarenessasitmanifestsin

sensory-perceptual and_spirituallyconnective statesofbeing.

Thisinstallationgeneratestheperceptionof_{synchronicity}

by

_articulating

meaningful coincidences. Theword_{synchronicity}wasfirstused_byphilosopher and

psychiatristCarl _Jungtodescribe"anacausal_connecting

principle'" linkingmany

connectedbutunrelatedeventsthathenoticedin his lifeandinthelivesof others. _Jung

theorized that theremustbealogicalplane_allowingeventstorelatebeyondobvious

sensoryandtemporalconditions. He_{defined synchronicity}as"the simultaneous

occurrenceof a certainpsychicstate with one or more external events which appear as

meaningfulparallelsto the_momentarysubjective state"". _Jungdidnotbelieve insimple

coincidence, stating,"Chance must_{obviously be}susceptible of some causal explanation

andis _onlycalled

'chance' or

'coincidence'

because_causalityhasnot yetbeen

discovered"111. Hebelieved_{synchronicity}to indicatealargerpsychic systemthat

supportedhis theories oftheCollective_Unconscious, afacetofthe subconsciousthatis

ubiquitouslypresent_amongall sentientbeingsand affects allthingsatonce.

Synchronicity isa mediumthatdeliversandtransmitscoded messagesthrough

patternsof coincidencethatpossess subjective_meaningtoan observer. Theprocess of

decodingsynchronousmessagesdependsupontheperceptions of an individual basedon

experiences, memories,andworldview. Awarenessof_{synchronicity}reliesbothon

perceptual conditionsoftheobserverandenvironmental signalsthattrigger_sensory

circuitsinthemind. Externalcues canbe _anyeventsthatcapture one's_attention,

includingsounds,visual_stimuli,andother_sensoryimpressions. Personal interpretations

Synchronicity

isacommon _{experience,existing}within a multitudeof perceptual

layers,andis

increasingly

evidentwithenhancedconcentration. _Manypeoplehave

experiencedthe

following

sensation: a person youhavenotthoughtabout_recentlywill

suddenly springto_mind, and soonafterwardyou encounterthatperson. This isoneof

manyways _{synchronicity may}manifest. Thewidespread existence of_{synchronicity}

illustratesa vastinterconnection betweenallthings. The subjectivedetailsof

synchronous experiencescan shedlightonindividual livesand establish valuable

channelsintoone's psychic awareness. Psychiatristand clairvoyantJudith Orloff

explainsin_AwakeningSecond Sightthatsynchronous events arefullof_meaningandit is

importanttoseek outtheir significance:"tosearch forthekernel beneaththeexternal

eventsthatis_{really fueling}thechance meetings orthesituationsthatarebroughttogether

seeminglybycoincidence... Oftenifyouarenotawarethat synchronicities are

happeninginyour_life,youwill missthem. But ifyoubegintolook forthemyour

awareness expands and you cantakeinmuchmore inyour psychic sightthan ever

before"lv. _Byquietingtheclutter ofone's _mind,awarenessistuned to thearcane realms

ofperceptionwheredeeperpatternsofrelationships_emerge, sothatwhen psychic

informationappearsit isobvious andmeaningful.

Manypeople_probablyrelateto experiencesofthepsychic. Perhapsthingsare

feltor sensedfornoapparentreason,whichcan later beconfirmedastrue.Although

thesesenses seemmysteriousand outside ofreality,theyarein factanaturalpart of

intuition. RupertSheldrake,anauthorandbiologistwhohas done extensive research on

psychic phenomena explainsthat thesemysterious senses are"notparanormalbut

gooddescription for"extrasensory"

perceptions,because itmaintainstheideathat the

psychicisa sense_{like any}other:"itimpliesakindof_sensorysystem over and abovethe

known_senses,but ina sensejustthesame. As a_sense,it isrootedintimeandplace;it is

biological,notsupernatural"". Animals inthewild_relyon"extrasensory" perceptions on

a_dailybasis. Humansare not exemptfromthe same perceptive_{abilities;they} are_simply

leftunderdeveloped_{in many}people. Thiscanbeattributedto themass ofinformation

technologyinmoderntimes. Somuch externalinformation is forceduponpeoplethat

the_internal,meditative realms where psychic awareness flourishesaredeprived. Butlike

manyskills, psychic awareness canbestrengthened with_practice, and_byno meansdo

people who experience psychic phenomena experienceitallthe time.

Contemporary culturaltabooshave distorted and sensationalizedwhatismeant_by

the term"psychic." Toa general_{audience, the}word ushersinvisionsof carnival palm

readers,fortunetellers,psychic_hotlines, andthe like. Synchronicities4:4demystifies the

ideaofthe psychic, and presentsitas an approachable_{concept, describing}a state of

focusedintuition. Thepsychic state isaperceptualblendcreatedwithinthecomplex

structure oftraditional senses. Itis achievedwhen_sensorycues combinewith

informationthatis _invisiblytransferredvia synchronousmeans outside oftheobvious

environmentalfactors. Psychicawarenessdefinesthefoundationofwhatone can

potentiallybe made aware.

The experienceofsynchronicityismysteriousbecauseits significance emerges

onlywithin anindividualperspective. Thisphenomenonissimilarto the subjective

experienceofschizophreniaandother psychological anomaliesthatare

directly

relevant

psychologicalirregularitieswhich are milderthanschizophrenichallucinations also

remain ripe_territoryforthemanifestationofpsychicand synchronousawareness,

because sensorycues are

initially

introducedas _{colliding,immediatelyestablishing}

channelsto theunseen. Forexample, in instancesof_{sensory deprivation}whena voidis

presentintheperception of one or more _senses,an enhancement oftheremainingsenses

isproducedinthemind. Peoplewhoareblindordeaf_frequentlyreport avivid

mind's-eyelandscape of"sight"and"sound"basedon abstractimaginativepatterns,which

guidestheirawareness andkeepsthemfocused intheirenvironments. Theheightened

sensitivityto sounds andvisualstimuli associatedwiththeautistic spectrum aswell as

characteristics of synesthesia alsofunctiononthe systems of perceptionfound in

synchronicity.

Synesthesiais_intriguingbecauseofthevaried effectsit hasonperception. A

basic definitionoftheexperience ofsynesthesiais"theneurological conditioninwhich

stimulationofone _{sensory modality}triggers involuntary sensationinanother". _Sensory

cuesfromone's environmentare crossedinsidethebrainwith_{sensory information}that

doesnot existexternally. Forexample,whensomeindividuals encounterwrittenor

verballanguageas well as non-language sounds,_theyexperiencea sense of color and

patternthatcorrespondsto thewords_they see orhear. Sometimescues oftouch,taste,

andsmell arecombinedwith sound andcolor. Forexample, surrounding blackor_any

SYNESTHESIA

0123456789

solidtextappears an aura or a sense ofcolor. _{The way}that the text_{is actually}written is

notunseen_bya synesthetic _{individual; however,this}additional layerof visual

information isperceivedinthemind. Theassociationsof colors are_consistent; each

symbolis alwaysassociatedwiththesame color. _However,thepattern of colors isnot

logically

progressiveand_{is different for every individual. In}theexperience of

synesthesia,signals are

literally

misguided withinthe_circuitry ofthe_{brain,producing}

theseunusual effects on _sensoryreceptors.

Synesthesiaemphasizestheperception of_{synchronicitybyutilizing}a wide range

of_sensorypossibilitiesto transfercoincidental_messages,therefore_linkingotherwise

unrelated aspects ofthemind. IntheSynchronicities 4:4project, as well asinsome of

myolder_work,senses of synesthesia are explored inordertoexternalize phenomenathat

are_usually experienced_onlyinsidethemind. Connections_{between sensory}experiences

and_{corresponding}synchronicities are created_bysounds, colors,andtextures thatcontain

[image:16.527.60.294.428.590.2]

values ofsynesthesia.

Twentieth _Centurypainter_Wassily

Kandinsky

usedhisexperience of synesthesia

todirectentirebodies of work. Hispaintings are composedof_manyabstracted shapes

and colorfields. Theaesthetic structureofKandinsky'sworkis basedon synesthetic

musical associationsheexperiencedwith color. Therelationshipshe createdin his

pieces, in hisown_words,are"not_necessarily ones of outward_form,butare foundedon

inner sympathyofmeaning"1. _Kandinskycametoregard_"paintingandmusical

composition as _essentiallythesame activity"1". Hismethodis described_noting,"Hehas

broken downthebarrier betweenmusic and_paintingandhas isolatedthepure emotion.

The linesand colourshavethesame effect as_harmonyand rhythminmusic"".

Kandinsky'sgoal wasto_applyhisexperience of synesthesiain hispaintingstoharness

hissense of spirituality. _{Byextractingimagery}hegatheredfromrealms ofdeepened

psychic_{awareness,Kandinsky}believedthathispaintedvisualstructures allowed

pathwaysforspiritual awarenesstoarise andaffectthesenses of viewers who gazed

[image:17.527.58.286.434.610.2]

uponhis pieces.

Spiritualplanes are a continuation oftherealmsthatdefinesynchronicity. An

awarenessof spirit expandstheboundariesofpsychic perceptiontoinformationthatis

clearlynot contained within physicalrealities. Spiritualistphilosophersbelievethat the

spirit continuestolive beyond

bodily

deathandthatspirits or energies ofthedead_maybe

contactedand continuetoaffecttheliving. The belief inspirit acknowledges an

interconnection amongall realms ofthevisible andthe_unseen,and questionsthe

boundariesof reality.

The designofSynchronicities4:4is structured aroundtheinfluenceofthese

variousfused sensoryanomalies andbridgesthatconnect to theinvisiblerealms of

psychic and_spirit,and is basedon research and_mypersonal experiences of

synchronicity. Theseperceptual statesinspire associationsbetweenthevisual and audio

elements inthis piece,which create meaningful coincidences and enhance theperception

ofhiddenrealms of consciousness. There are numerouslayersof visual and audio

informationwhere synchronous messages are embedded withintheinterconnection

betweenelements. Thepieceis designedto transcend through differentperceptive states

and layersofconsciousness. Theoverallpatternofthe_{image-to-audio relationship}

movesbetween disorientationtoclarityandback. Members oftheaudience should feel

asthough_theyhaveenteredadifferentrealmtoexperiencethispiece. As_they sitinthe

installationspace, viewersshould gather awareness oftheirsenses and absorb the

patterns ofimageand soundthatflowaroundthem,adoptinga meditative andinwardly

focusedstateof_viewingandlistening. _Byturningtheirconsciousness_inward,viewers

willaccess deeperrealms ofperception,where synchronous informationcanbesifted

Viewers shouldbecarried_alongwiththecurrentofimagesand_{sound,engaging}

inmultiple experiences ofsynchronicity. _{The repeatingaudio and visualthemes}

develop

greater_meaningwith increasedattention. Thereare_manyvariables forviewerstofocus

on sothatdifferentpatterns willbeperceivedwithmultipleviewings. The significance

ofthepatterns isnot_{necessarily literal} orspecific. Intheexperience of_{synchronicity}

exact messages_maynotalwaysbe_understood, butthere isa _strongsense of

communication_takingplace. Ananalysisoftheseabstractcommunicationpoints as_they

combine will_ultimatelyreveal alarger impressionof_{understanding in}the_{synchronicity}

of one'slifeand intheexperience ofthisartwork.

[image:19.527.59.459.348.455.2]

IMAGES

Figure 5. InstallationimagesofSynchronicities_4:4,RochesterInstituteof_TechnologyS.P.A.S._Gallery,2007.

The fourlarge video projectionsdominatethe installationspace. Theimagesare

all projected onthesame plane and worktogetheras onevisual_{piece;however, they}are

notusually illuminatedall at once. Attimesall fouraredark for_manyseconds at a_time,

drawingfullattentionto the sound. Thefourimagescreateinterrelationships between

theirindividual elements,and thevisual patterns dependonwhichimagesare litat what

cycling betweenon and offinrhythmic patterns whichare atpoints chaotic and at other

times meditativeandpeaceful. The imagesareabstracted shapesof_light,and are

interwoventhrough_{movement,texture,}colorand shadow. Theirabstract form isan

impetus forviewerstofocusonthepatterns created_amongthem,ratherthan

dissecting

theirspecific photographic sources. Thecolorpalette pulsatesfromneutraltones to

boldershadesof_orange,greenandpurple astherhythms_increase, thenbreaks into

metallic shadesof_blue, silverand goldtorepresentatranscendence intounseen realms.

The imagesare amediumthatcarriesthepower ofthe_audio,areflectivesurfacethat

allowsfor deepenedawarenessto takeplace. Thescreenacts as a placeforviewersto

settletheireyes andholdtheirattention while_theylisten.

A _{strong influence for}thestyle of_{images in Synchronicities}4:4isthework of

filmmaker Stan Brakhage. Hestructures and edits_many ofhisworks_{bycraftingdirectly}

ontothecelluloidsurface_{using painting, scratching,and other methods. The result when}

[image:20.527.58.398.422.534.2]

screening hisworkisoften a_morphingcolorfieldof"associationalnarrativesdirected

Figure 6. Still images from the filmStellar,StanBrakhage, 1993.

byabstract

sequences""'

wherepatterns and shapes emerge and ebb andflow amongone

another. Thesepatterns of movement and shape arethe

key

toBrakhage 'sworkbecause

theycreate a subliminal_{presence,opening}the samekindof meditativechannels into

heightenedawareness asisutilized_bySynchronicities 4:4. Brakhage's interpretationof

audio also establishes asubliminal_presence,becausealthoughhis films are_mostlysilent,

thereisatransformativesense of soundthatemergeswithinthemind oftheviewer. This

isa synesthetic white noisethatcorrespondsto the

fluctuating

visual edits and patterns.

Subliminal perceptionis a_{keystep involved in shaping}themanifestationof

[image:21.527.59.286.215.362.2]

synchronicitytoanindividualmind.

Figure 7. Still image fromthefilmMutations,Lillian Schwartz & Jean-ClaudeRisset, 1972.

Anotherpiece whichinterpretsthesoundto_{image relationship} inasimilar_wayto

Synchronicities 4:4isthecollaborative workbyLillian SchwartzandJean-ClaudeRisset,

Mutations. Rissetcomposedtheelectronic sounds_usingan abstract,underlying

mathematicalstructure,andSchwartzchoreographedtheimagesbased onthemovement

ofsound. The designof_images, whichare abstracted patternsoflight, appearstocreate

thesoundsheard

by

theviewers. Thisisasimilarfusionbetweensoundandimageas

thatwhich structuresSynchronicities4:4. Synestheticandsynchronous relationshipsare

createdbetweenthesensoryexperiences ofseeingandhearing.

WithintheSynchronicities4:4_{installation,} theimagepatternstakeondifferent

relationships thatevolvebasedonthe_audio,

developing

deepersensesofawareness as

thecycles progress. Eachofthefoursoundtracks usesthesamevisualcompositionto

illuminateits set ofsynchronicitieswithinthe overall structure.Theaudio segments are

presented oneafteranotherinalinear_{progression, and are eachself-containedand}

distinct fromtheothersoundtracks. Atthesame_{time,however,}all ofthesounds are

interrelatedanddependenton one anothertocreateand_conveymeaning. The image

sequencetakesondifferenttriggerpoints foreach section of_audio,tyingall aspects

togetherintoa web of_{sensoryinformation. Everytime the images}

repeat, the sound

buildsupontheaudio transmitted

during

previous _{cycles, creating}

increasingly

complex

synchronous patterns.

AUDIO

Likethe_images, theaudiois abstracted, inthat thereisnotraditionalnarrative

takingplace. Thefirstsoundtracksinthecyclefeaturean abundance of_confusing and

overlapping sounds,

including

fragments ofdialogueand a combination of electronic

static, mechanical,musical and natural sounds. Thesetypes of sound arefoundat points

withineach ofthefoursoundtracks,connectingall oftheaudiotracks together to

symbolizetranscendencebetweenrealms of consciousness. Astheaudiotracksmove

forwardthecommotion of soundsubsides, isolatingtheindividual elements ratherthan

overlappingthem. The four-minuteaudio cyclesbuildupon one another_byconnecting

various soundthemes foundthroughoutthepiece. The full audio sequence ends withthe

minimal soundof_tricklingwaterthatgives_waytoa series ofhigh-pitchedpulsations.

Theaudiosymbolizestheact of_turningone'sfocus_{inward, replacing disorder}with

introspectiongainedfromthedevelopmentofsynchronousrelationships.

Humanvoicescanbedecipheredto_{varying degrees in}each soundtrack. These

narrative voicesare not often_clear,butcontainfragmentsof sentencesthatweave

together to_implygreater_{meaning using} synthesisofthemind. _Theyspeak_directlyto the

listener, actingasliaisons todeliver_messages,andsymbolize alistener'sinner

monologue,establishinga connectiontounseen realms. Thereare moments whenso

manyofthesevoices blendtogether thatchaos_erupts, and other momentswhenthereis

such quietthat thesilencebetweenvoices ripens with meaning. Theaudiotracksalso

includephrases thatare more _{unintelligible,}such asthevoices of_{children, whispers,}

animal_sounds,as well as "voices"or messagesheard inthenoise of non-sentient entities

(suchas water). Sincethereisno specificmessagetransmittedwithintheseaudio

elements, the

"sense"

oftheirambiguous messages creates an indirect_narrative,

channelingsynchronousmessagesthatdelve beyondtheapparent sound. Theirmeanings

arisefromthe innerawarenessofthelisteners' minds.

Inmeditation, acommontechniqueusedtocenteroneselfistheexercise of

toning,whichmeans_{concentrating}ona singlevowelorsyllable_{(commonlyohm,} butit

canbe_{any sound)}andemittingitthroughsustainedcycles ofbreath. SandraIngerman,a

shamanic practitionerwho studiesmeditation, explainsthat"almostall creationmyths

beginwiththeideathattheworldwas createdbya sound or word...[Inmany ancient

practices] itis very importanttocorrectlypronounceeach syllable andvowel,for

wheneverasyllableorvowel ispronounced,avibrationis set_upthataccessesthepower

oftheuniverseandthenmanifestsbackon Sheexplains that_toningallows

peopletomaintain a state of consciousnessthatconnectsthem to thedivinenature of

theirsoul. Whensounds arebroken down into basic_vibration,bridges intounseen

realmscanbeestablished.

Thetonaland musicalaspectsofSynchronicities 4:4

help

tocreate emotional

sensationsthatbeartheweight ofdeeperawareness. This is alsotruefor_{the static,}

high-pitched and other_sharpnoisesplaced withintheaudio ofthispiece. Theseintense

vibrations_signifytransitions_amongstates of consciousness. Thereis a_duality between

the_sensoryoverloadthat thesesounds create andthesmooth_intensityover a range of

frequenciesthatalso characterizes_them,whichis relatedtopatterns or voices construed

amiddisordered butconsistent noise(whichsomebelievetobe communicationfrom

spirits outsidetheperceivedlimitsof reality). Attheend oftheaudio cyclesall sounds

fadeout of_hearingrange,representingconsciousness as it becomes_completelyengulfed

byinvisibleplanes.

Janet Cardiffis an artist who explores similar aural realms. Inher Walks_series,

sheblurs thelines_{between reality}and_fantasy, interior headspaceandtheenvironments

inwhichheraudience experiencesherpieces. Theserecordings, issued inportable audio

players, are designed foruseinspecific settings. _Theyare presented undertheguise of

typicalmuseum audiotours, instructinglistenerstomove certaindirectionsandtake

specificpaths, often outdoors. _Theyquicklybecome complicated,however,as Cardiffs

narrative and sound elements_playupon whatlisteners sees as_theywalk, mixinginto

theirrealenvironments fantastical layersof audiothatrelateto the space,but incorporate

alternate _times,realities,and characters. Cardiffs voice speaks_directlyto thelisteneras

aconfidant, enticingone'sperceptionsandemotions. Shewritesofher _Walks, "Inthis

typeof_work, synchronistic events_playwiththe_{listener's understanding}of reality.

There isasense of wonder and shock wheneventsand scenesdescribedontheaudiotape

coincidentally happen inthephysicalworld. Ontheother_hand, when_somethingyou

hear isnot_there,theviewerisgiven a sense of_{displacement,} asthough_theyhave been

transportedintosomeone else's dream.""'11 Thesepieces shape _sensoryawarenessto

accesstherealms oftheunseen.

Anotherpiece_byCardiffentitled

Wlvspering

Room featuresspeakers mounted on

standsthroughouta_gallery, each one_utteringstories spoken_bydifferentvoices. The

effect of_walkingthrough the_galleryspaceis_{disorienting,}like_overhearingfragmentsof

multiple conversations at_once,sothatnone ofthepieces make clearsense,similarto the

audio overloadin Synchronicities4:4. However, byemployingthesame means of

meditative_{concentration,} listeners_maybegintocomprehendinformationas it

synchronizes withtheirawareness. _Together,thevoicesbecome _somethingmorethan

what_theyare _speakingaboutindividually. Meaningfulconnections_maybe deciphered

withinthejumbleofnarratives,as synchronous fusionsemergefromthe_initially

overwhelmingenvironment. Cardiffs work issimilartoSynchronicities 4:4not_onlyin

aestheticstructure,butalsoinitsexplorationof content: the _{impermeability}of whatis

"real,"

thedisassociationofperceptionand_time,andtensionbetweennatural states of

intuition andthe sensory-saturated environmentof_contemporarylife.

Aprominentvoicefound ineach oftheaudio segments inSynchronicities 4:4

belongsto thepoetJeanetteKarhi,who reads sectionsof_poetryfrom hercollectionEVE

RECEIVE&,also referredtoas DEAD POEMS. Karhi'spoems guidetheabstracted

narrative _connectingtheaudiosegments. TheselectionsofKarhi'sworkrecordedfor_my

installation dealwithsensory-psychictransformationandcommunication with spirit.

Since herpoems alludeto thesame conceptualphilosophies exploredinthis work,

Karhi'spiecesfitwell _{aesthetically}with other sound elements andfragmentsofdialogue

in Synchronicities4:4.

Thestrange accentuation ofKarhi'svoiceis a result ofthe_waythepoemsare

written. DEAD POEMS containtwosimultaneous poems: thatwhichisprintedonthe

page,andthatwhich emerges when read aloud. Thepoem makeslittlesensewhenread

silently,using onlythevisual cues oftheprint. Thetruevoiceofthe poemdoesnotexist

on_paper,but issummoned_onlywhenthewordsare articulatedinsound. The_following

is a sample sectionof onepoemfromEVE RECEIVE& foundintheaudio of

Synchronicities 4:4. Incapitalletters isthepoemasitappearsinprint,andinthenext

column isthe "translation"ofthepoem- the

wordsformed insound whenthepoemis

voiced:

EYE WAS HOUND Iwassound

BEEF ORI'D I'D beforeIdied

&OFTER andafter

MICE HOUND ACE ACCORD Mysoundmakesa chord

WHIFF YOU'REIS Withyours

Karhiwritesofherwork,"The DEAD POEMScleavethesound of apoemfrom

its printed_{text, reverting poetry}toitsplaceamongtheauditory arts... Areader who

voices[a DEAD POEM]despite itsmotleyappearance findshimself speakingthe sonic

levelofthepoem. Throughlisteningtothe sound, meaningful communicationor

making'

takesplace.""v

Ina style similarto the

layering

of soundsthatmustbesorted

withinthe_mind,thesignificanceof_{EVE RECEIVE& is found}inthe invisible

underpoems, whichemulatespiritvoices_takingpossession ofthespeaker. Karhi

explains,"thereaderbecomesnotjustalistenerto thepoet orthe_poetryorthepagebuta

listenertohimself... Fromeach poemlifts_a

spell,aritual_chant, adisembodiedvoice

usingthevoice ofthereader as amediumtochannel

through.""v

Thesepoemsillustratea

forcedseparation of whatisseen and whatis _{heard,creating}a passage into invisible

realms ofperception. Thisstructure which_concurrentlyspans multiple realms also

coincideswiththepremise ofSynchronicities_{4:4,accentuating}thesimilar concepts

between Karhi'swork and_myown.

Ann Hamilton isan artist whoseworkresonates with similarideas_regarding

awareness,interconnectionandinvisiblerealms. Hamilton'svideo and soundinstallation

Ghost...A Border ActissimilartoSynchronicities4:4intermsofinstallationand

conceptualdesign. Hamilton'spiece consists oftwo30' square

"rooms"

created_bysheer

curtains

hanging

insidea_dark, otherwise_emptywarehouse. Insideeach ofthe two

curtained_spaces, projectors are mountedtoa_movingtrack. Theprojectors circle on

these_{tracks, shining}their_{images along}thesquare curtainsthatsurroundthemas_they

move. Theirlightspills throughthesheer materialonto one another and also projects

out onto thefarwalls ofthewarehouse. Theeffect ofthisconstant movementis _ghostly

and somewhatfrightening,_summoningimpressionsof poltergeists or

looming

searchlightsinthedark. Like_mywork, Ghost... A BorderActcreates a_{disorienting,}

transformative space. Theaudio inHamilton'spieceis alsoreminiscentof

Synchronicities 4:4. _Minimal,amplified whispers fillthearea aroundthecurtained

[image:28.527.61.297.41.175.2]

Figure 8. Installation imageofGhost...ABorderAct,AnnHamilton,2000.

rooms, resounding lucidpronunciationsof_fragmented,ambiguous words such as"echo"

and

"sierra."

The soundenhancestheeeriness andmystificationofthespace. The

projectedimages_portraya pencil

dragging

athinkline behindit, whichHamilton intends

tosymbolizea connectivethread_{running between}perception and_{spirit,utilizing}written

and verbal communication asitsmedium.

JohnCage is an audio artist who uses_{synchronicity}toa_{large degree}inthe

structure ofhis_work,while _{incorporating}his studies ofChance Operations. Cage

embraces a random structurein hismusical _{compositions,} whichisideal forthe

materialization of synchronicities. Chancemusicisnot produced_bytraditional_planning

and_composing,but insteadallows unpredictableelements to_{intrude,embracing}

coincidentalrelationships. Cage'spiecesare always experimental and_innovative,and

generally includejarring,non-musicalelementsthatsometimescombine with sparse

melodies. Often Cageiscredited much more_highlyforhisphilosophies onchance and

synchronicitythan for hisactual music. Cage has saidthathewould ratherlistento the

sound of a_citystreetthanattenda_concert,becausethesynchronous sounds ofthe street

are musicaltohisears. Of his_{philosophies,} hesays, "Whereverwe_are,whatwehear is

mostlynoise. Whenweignoreit,it disturbsus. When welistento_it,we find it

fascinating. Thesound of atruckat_fifty miles perhour. Static betweenthestations.

Rain. We wanttocaptureand controlthesesounds,tousethemnot as sound effectsbut

as musicalinstruments."""

Throughout his_career,Cageused_{many different}methodstocome_upwithhis

chance _formulas,

including

mathematical _equations,philosophicaltheories, and more. In

some_cases,heselected_existingpieces of music and re-exploredthem_usingchance. For

example,hewould count"thenumber of notes ina given[musical piece],andthenused

chancetoselectfromthese...Hewouldtake thefirstnote fromtheoriginal score and

extendituntiltheseventh note _(removingallthe_interveningnotes); allthenotesfromthe

seventhto theeleventh wouldbe_{removed, leaving}a

silence."" By applyingrandom

numericalformulasto the_existing compositions and_rearrangingtheirstructurebasedon

theseformulas,Cagecreated new pieces of music. He didnotknow how_theywould sounduntiltheChanceOperationshad beenapplied. _However,insteadof_obsessingover

what_{traditionally}pleased_{the ear,}Cage wasfascinatedwith_inviting"randomnessinto

M

[image:29.527.70.459.411.618.2]

j>

$

Figure 9. PossiblemusicbasedonChanceOperations,from Concertfor Piano &_Orchestra,JohnCage,1958.

hiswork. Thepieces arethusabouttheideaof chance and are not concerned with

anythingeven_remotelymusical. Theseare 'conceptual' worksinwhich...the

philosophical underpinningsare_clearlymore significantthan_anymere

sound.""'

Magicaltransformations arose whenthestructureofthesecompositions synchronized

with musicalsoundsthatwereindeed aesthetically interesting. Cagewouldthenconsider

thepieces successful.

[image:30.527.61.466.296.439.2]

CONCLUSION

Figure 10. InstallationimagesofSynchronicities_4:4,Rochester Instituteof_TechnologyS.P.A.S.Gallery,2007.

By utilizingcharacteristicsfromthesewide ranges of_influences, Synchronicities

4:4 illuminatesthe transcendentrealms of awareness as _theymanifestin sensory-psychic and_spirituallyconnective states of perception. Thisinstallationcalls attentionto the

phenomenonofsynchronicity, openingdoors forpossibilities of greater_{understanding in}

thosewho experiencethispiece. _{Synchronicity}revealstheinterconnection betweenall

things, and provides acurrentforexpandedawareness and mindfulness ofthewaysin

whichallthingsrelatetoone another. Synchronicities4:4payshomagetothemysterious

perceptual capabilitiesharvestedwithinthecontinuum ofconsciousness. Asbiologist

and authorRupertSheldrake_{argues, "It}is morescientifictoexplore phenomena wedo

not understandthan topretend_theydonot exist. Ialsobelieve it is less_frighteningto

recognizethat the _[psychic]sense ispart of ourbiological _nature,shared with_many other

animal _species,than to treatitas weird or

supernatural.""1"

Inmodernculture,peopleare

exposedtoconstant over-stimulation andinternalizemuch without_questioningtheeffects

ofthis toxicstate ofbeing. Distractions fillpeople'slives so_theydonot notice areas of

theirminds

leading

togreater_sensoryawareness and passagesforpsychic andspiritual

informationtoguidetheiractions. Thisthesisproject seekstoopen awarenessto the

synchronous messagesthatexist not_onlywithin_{this piece,}butalsowithintheworld in

general:tore-sensitizeina culture ofdesensitization. Theexperience of_{synchronicity}

affects everyone at some_point,itis _simplya matter ofwhen. Tothoseindividualswho

learntobecome _increasinglysensitivetosynchronous patternsintheir_lives,thiscurrent

ofinformationcanbeusedas aninvaluabletooltowarda greater_{understanding}of

existence.

ENDNOTES

Jung,Carl. Synchronicity. Princeton: Princeton_{UniversityPress, 1973,}p.6.

Jung,Carl. Synchronicity. Princeton: Princeton_{UniversityPress, 1973,}p. 25.

Jung,Carl. Synchronicity. Princeton: Princeton_{UniversityPress, 1973,}p. 7.

'v

Orloff,Judith._{AwakeningSecond Sight. Boulder: SoundsTrue,1997,part3,section4.}

v

Sheldrake,Rupert. The Sense_ofBeingStared At. New York: Crown_{Publishers, 2003,}p.ix.

V1

Sheldrake,Rupert. The Sense_ofBeingStaredAt.New York: CrownPublishers,2003,p.4.

'"

Cox,Christoph. "Lost inTranslation."

ArtForum,Vol._XLIV,No._2,October_2005,p.238.

Kandinsky,Wassily._ConcerningtheSpiritualinArt. NewYork:Dover PublicationsInc.,1977,p.34.

Kandinsky,Wassily. _ConcerningtheSpiritualinArt.New York:DoverPublications_{Inc., 1977,}p.48.

Kandinsky,Wassily. _ConcerningtheSpiritualinArt. New York: Dover Publications_Inc.,1977,p. xix.

Barrett,Gerald. Stan Brakhage:A GuidetoReferencesandResources. Boston: G. K.Hall&_Co.,p.27.

Ingerman,Sandra. Miracles fortheEarth. Boulder: SoundsTrue,2004,part _1,section5.

Christov-Bakargiev, Carolyn,JanetCardiff: A_SurveyofWorks,New York:Distributed_{Art, 2001,}p.

80.

Karhi,Jeanette. "TheDeadPoems."

http://www.jeanettekarhi.com/DeadEssay.html, 2007,p. 1.

Karhi,Jeanette."TheDeadPoems."

http://www.jeanettekarhi.com/DeadEssay.html,2007,p. 1.

"vl

Cage,John. "TheFutureofMusic: Credo."

Sound_ByArtists. Toronto: ArtMetropole, 1990,p. 15.

"

Pritchett,James. The_{Music of}John Cage. Cambridge: Cambridge_UniversityPress,1993,p.3.

xvm

Pritchett,James. The Music_ofJohnCage. Cambridge:Cambridge_{University Press, 1993,}p.2.

"'"

Sheldrake,Rupert. TheSense_ofBeingStared At.New York: Crown_{Publishers,2003,}p.9.

BIBLIOGRAPHY

Ackerman,

Diane. A Natural

History

_oftheSenses.New York: Vintage _Books, 1990.

Anderson,

Mary. ColourHealing. Northampton: TheAquarian _Press, 1979.

Barrett, Gerald. StanBrakhage:A Guide toReferencesandResources. Boston- G K

Hall &_Co., 1983.

Bartholomew,

Anita. "After Life: the ScientificCase fortheHuman Soul."

Reader's

Digest, Vol. _163, Issue_976, 2003.

Brakhage,Stan.

By

Brakhage: AnAnthology. New York: The Criterion_Collection, 2004.

Cappellazzo,

Amy.

Making

Time:

Considering

Time as a Material in

Contemporary

Video & Film. Lake _{Worth, Florida: Palm Beach Institute}of

Contemporary

_Art, 2000.

Cheroux, Clement,Andreas_Fischer,Pierre _Appraxine, Denis_Canguilhem, and Sophie

Schmidt. The Perfect Medium:

Photography

andthe_{Occult. New Haven: Yale}

University

Press, 2004.

Christov-Bakargiev,

Carolyn. Janet Cardiff: A

Survey

_{ofWorks. New York: Distributed} Art_Publishers,2001.

Cox, Christoph, "Lostin Translation."

ArtForum, Vol. _XLIV,No. _2,October 2005.

Eleey, Peter. Strange Powers. New_York, Creative Time _Books,2006.

Ewen,David. Composers_ofTomorrow's Music: A Non-Technical Introductionto the

Musical Avant-Garde Movement. New York: Dodd, Mead &_Company, 1971.

Grandin,Temple. Animalsin Translation. New York: _Scribner, 2005.

Grandin,Temple. _ThinkinginPictures. New York: _Doubleday, 1995.

Hall, Doug.

Illuminating

Video. New York: Aperture_Foundation, 1990.

Holroyd, Stuart. Psiandthe Consciousness Explosion. New York: Taplinger

Publishing

Co., 1977.

Ingerman,Sandra. Miracles fortheEarth. Boulder: SoundsTrue,2004.

Jung, Carl. Synchronicity: An Acausal

Connecting

Principle. Princeton: Princeton

University

Press, 1973.

Kandinsky,

Wassily.

Concerning

theSpiritualinArt. New York: Dover Publications _Inc., 1977.

Karhi, Jeanette. "The DeadPoems."

http://www.jeanettekarhi.com/DeadEssay.html,

2005.

Kostelanetz, Richard. John Cage:

Documentary

MonographsinModern Art. New York: Praeger_Publishers, 1970.

Lander,Dan. Sound

by

Artists. Toronto: Art_Metropole, 1990.

McTaggart,Lynne. The Field: the QuestfortheSecret Force_ofthe Universe. New York: Harper_Perennial, 2002.

Orloff,Judith.

Awakening

Second Sight. Boulder: Sounds_True, 1997.

Palmeri, Thomas,"The Perceptual

Reality

ofSynesthetic Colors." Nashville: Vanderbuilt _University,2002. http://www.pnas.Org/cgi/reprint/99/6/4127.pdf.

Pritchett,James. The Music _ofJohn Cage. Cambridge: Cambridge_UniversityPress, 1993.

Sacks, Oliver. "The Mind's Eye."

TheNew _Yorker, Vol._79, Issue_{20, July}28, 2003.

Scheffer, Frank. John Cage: From Zero. New York: Mode Records, 1995.

Shedden, Jim. Brahkage. New York: ZeitgeistFilms, 1998.

Sheldrake, Rupert. The Sense_of

Being

Stared At.New York: Crown_Publishers,2003.

Slate,Joe. PsychicPhenomena. _Jefferson,NC:McFarland&Company, Inc., 1988.

Wallis,Claudia. "Insidethe AutisticMind." Time, Vol.167, Issue20, May 15, 2006.

Wicker, Christine._LilyDale. New York: Harper,2004.

Various Artists. OHM+ _Orange,CT: Ellipsis _Arts,2006.