Wikipedia: Art is the process or product of deliberately arranging elements in a way that appeals to the senses or emotions. It encompasses a diverse range of human activities, creations, and modes of expression, including music and literature.
In my most recent post I have been revisiting what I’ve called the Living Field, how I experience it and how I’ve worked with it and still do. Michel Bauwens of the P2P foundation extracted a “typology of fields” from that post and talked about it here.
I don’t know if it was the “Goldberg-Variations field” that Jascha Rohr tweeted about in response that got me thinking about art as a particular type of constellation of the living field or if it was the Wikipedia definition of art; it might also have been the dream I had this morning of creating a large scale systemic constellation in some unknown land and being struck by the beauty of what emerged…
One of the most amazing characteristics of a living field is that it creates epiphanies, realizations or comprehensions of the (larger) essence or meaning of something. In systemic constellations this might be some explicit pattern in the system one inquires into that is surfacing as an “Eureka!” experience, a surprising insight into why or how things are as they are; in a circle that has managed to surrender into a highly coherent we-fulness the epiphany can be the tacit experience of individually being embedded in a higher We or “Circle Being”; and in a Dynamic Presencing constellation it can be the undeniable sense of unity with ‘all-there-is’.
The living field is, it seems, 
continually creating or triggering epiphanic in-formation in living beings. And since my main gate to the spiritual realm is beauty – truth is beauty, love is beauty, the gods are beauty, the essence of life is beauty etc. – to talk about epiphanies is to talk about essential beauty. Beauty – something many of us look for in art – is an epiphany more or less strongly altering our conscious state, momentarily or sometimes even permanently changing us by changing the way we perceive the world and interact with it.
In previous posts I have suggested that a living field is a particular – often dynamic – constellation of elements and/or beings in space and time. It can be regarded as the network, the mesh of relations between all these elements and beings involved. We could also imagine a living field as a web of relationships that in and of themselves already are dynamic, comparable to a melody which can only be enjoyed or understood in their flow.
[This makes me think of the neuronal network in the brain and that this particular constellation gives rise to the ultimate form of beauty: consciousness.]
Take these lines of poetry:
Here are the miracle-signs you want: that
you cry through the night and get up at dawn, asking,
that in the absence of what you ask for your day gets dark,
your neck thin as a spindle, that what you give away
is all you won, that you sacrifice belongings,
sleep, health, your head, that you often
sit down in a fire like aloes wood, and often go out
to meet a blade like a battered helmet.When acts of helplessness become habitual,
those are the signs.But you run back and forth listening for unusual events,
peering into faces of travelers.
“Why are you looking at me like a madman?”
I have lost a friend. Please forgive me.— from Acts of Helplesssness by Rumi
What makes the hair on my skin stand as I read the poem? Is it how I relate to it? Is it how words and meaning of the lines relate to each other as in, “to meet a blade like a battered helmet“? I don’t know. But following the trace of the experience in my imagination/memory it feels as if at a certain moment all the relationships between words, lines, meaning, feeling ‘gel’ into a highly coherent whole. The ecology of the living field has reached a tipping point and evokes an insight, feelings, 
connectedness, inspiration – sheer beauty.
This leads me to the understanding that creating the ecology and atmosphere for a living field to resonate with high coherence is very much akin to art. This type of creation, though, goes way beyond the above mentioned definition of art as “deliberately arranging elements in a way that appeals to the senses or emotions“. Creating living field art is also related to the question that shapes the boundary of that ecological niche of highly coherent resonance, asking, “Which dimension am I going to call on, explore and what are the ways, values and means I set out with?”
We know nothing of the living field in ‘ordinary circumstances’ – it is epiphanies that indicate the whereabouts of the high resonant spaces within it that can be used for artful constellation. And then, once the artist has gone through the epiphanic process provided by the living field, s/he can constellate circumstances and deliberately arrange elements so as to propagate an epiphany-prone ‘object of art’. A conversation, a poem, singing, growing a garden, sitting in a circle, writing, dynamic presencing, participatory design, intense we-fulness, the blossoming of the heart-chakra, cooking, painting, cuing up, communing with disembodied entities, a smile on the bus… it is epiphanies that turn these moments and movements into art, making space for beauty in form. There is, of course, always a magic at work, something forever out of control of the artist. Without it all these moments and ‘objects of art’ lose their color and feel; without this mysterious extra it all lacks authentic, beautiful presence in our real-life-stream.
An artist, a living field artist recognizes this ‘magic’, s/he follows its scent to where there is ‘light in the atmosphere’ that is on the brink of emerging as epiphany. S/he’ll arrange – often without knowing how – the words, gestures, colors, beings so that their relationships invoke and evoke, tease out what flows and resounds between them; these streaming sounds, the melody of the artist’s doing, entrain the relating participants into epiphany-prone circumstance. This is where everybody and everything involved is unfolding in a deeper, higher, utterly satisfying space, round and resting in itself, and expressing in religious people spiritually, in the aesthetic ones as beauty, in inquisitive beings as realizations and insights, in philosophic and scientific minds as truth, in life’s sailors as the winds of love, in kosmic space cowboys as bliss-bubbles, in earthlings as the joyful gravity of reality.
Becoming an artist of life entails more than sniffing out, co-creating, co-evolving the forms and ecologies for epiphany, it is developing spiraling processes that enlarge the circle of resonant living fields in the manifest and virtual realms by participating in their emergence wherever that may be, “making it up as we go” with all the other feelers of the collective world-being we truly are.
Out beyond ideas of wrongdoing
and rightdoing there is a field.
I’ll meet you there.
When the soul lies down in that grass
the world is too full to talk about.Rumi, translated by Coleman Barks
Making myself available and looking out for new streams of income I’ve revisited Martin Seligman’s “
Recently we have moved from a merely changing world to an emerging-flexflow world; by this I mean that the rate of change has accelerated so much that now ‘novelty’ is continually emerging – unprecedented situations, unreducable complexities, ambiguous multiplicity abounds. It seems that a good way to adapt to this, let’s call it simply ‘complexity’, is with collective and collaborative intelligence. This goes for the economy where we’re seeing the first signs of “Enterprise without Boundary” embedded within “Information Fabrics” and “Collaboration Ecologies”, and it goes for social and political life where we also see first signs of the influence of social networks eclipsing the power of parties in some issues. And of course this is true in the individual’s life where the role of community is rising again out of the ruins of mega-individualism; and what we mean for each other is strengthened immensely.
In the recent very challenging time in my relationship I discovered – or better, uncovered – a constant pattern of behavior: Deeply opening up to – trusting – someone will lead to abuse sooner or later. This pattern comes from my very young years when my mother gave me away to my grandparents who then put me in a boarding school that then kicked me out… don’t want to relate the long sad story of what f****d me up emotion
ally in my young years, only want to indicate an important influence to the present experiment.
The premises of the experiment
Design for next few days
