Translations by ChatGPTPlus and Grammarly
Translations by ChatGPTPlus and Grammarly
Within this context, Mya Lurgo participated with the experiment Persistent inFormation Determines Form, carried out with the artists in residence.
The experiment, later repeated in Lugano on 21 November 2019 in a private residence, arose from the desire to investigate the possibility of intra-seeing with closed eyes certain formal elements of a non-visible artwork, through an exercise in the voluntary expansion of the Field of the Heart.
The experiment investigates the possibility that the visible form of an artwork is not merely an external datum, but the outcome of an informing matrix: a field of intention, energy and structure that precedes and sustains its physical manifestation.
The starting hypothesis is that persistent inFormation may determine Form: what persists inwardly over time tends to organise itself, impress itself and manifest.
From this perspective, the artwork is not considered merely as an object to be observed, but as a field to be received. The participant is not invited to interpret what they see, but to verify whether, in the absence of ordinary vision, signs, directions, dots, lines or configurations may emerge that are related to the structure of the hidden artwork.
This research is rooted in an ancient question: is outer form merely appearance, or does it manifest an inner reality?
Jacob Böhme, Lutheran philosopher, mystic and theosopher, maintains that every created thing bears, in its external image, the sign of its inner form. The inner tends to manifest; visible form thus becomes trace, signal and revelation of an invisible power.
In this sense, the experiment does not seek to conclusively demonstrate an extraordinary faculty, but to open an artistic-perceptual inquiry into the Archetype of Form, understood in the Platonic sense as principle, matrix or substantial essence of sensible things.
Mya Lurgo, One Way, Wu Wei, 2019, mixed technique on canvas, ⌀ 20 cm
The experiment continued through an exercise received by means of meditative writing, aimed at intra-seeing through the Field of the Heart.
Close your eyes.
Breathe through the heart.
Expand the Field of the Heart, heartbeat after heartbeat, like a vast screen or an inner blank sheet.
Within this empty space, allow the first signs suggested by receptive imagination to occur, while the intention of the artwork is read aloud again.
Open your eyes and sketch onto the physical sheet before you the first signs glimpsed on the inner screen.
Close your eyes again and resume the expansion of the Field of the Heart.
Observe whether other de-Signs appear: lines, dots, directions, full and empty spaces, chromatic fields or structures.
Listen once more to the creative intention, then open your eyes and trace the new perceived elements onto the sheet.
Close your eyes one final time. Expand the heart through the breath and observe more attentively the forms emerging within your inner visual field.
After the final listening to the creative intention, transfer onto the sheet the final pre-seen configuration.
The participants experienced the exercise for the first time, without any specific training in the practice of vision of the heart. The aim was not to verify an already developed ability, but to observe what information might emerge in a first shared experience, through a simple method of listening, breathing and inner perception.
Some participants intra-saw the division of the canvas into two fields; others perceived dots, lines, directions or compositional elements related to the structure of the artwork One Way, Wu Wei.
Overall, several basic aspects of the artwork emerged in the drawings and impressions collected, suggesting that the practice could be further deepened and refined through exercise.
These results are not presented as definitive scientific proof, but as indications of an ongoing inquiry: an investigation into the artwork as an informed field, the image as a receivable form, and perception as a faculty that can be trained beyond physical sight alone.
A central question remains open:
Is the Field of the Heart, in a shared experience, a subjective dimension, or can it take shape as a common field among several participants?
This question orients the subsequent developments of the research, particularly towards experiments with blind targets, anonymous codes, control images and conditions capable of better distinguishing between personal interpretation, the artist’s influence and the possible informed field of the artwork.
The Foundation’s headquarters, Casa Cafausica, where the activities will take place, is a striking large early 20th-century farmhouse of very high building quality, which has remained substantially intact since its construction. The House is surrounded by a large park of about two hectares with tall trees, olive and fruit trees, and is flanked by a hortus conclusus with citrus grove. The House and the park are the ideal sites for the creation of “temporary communities” that can propose cognitive practices and share artistic projects and, at the same time, experiment with forms of life that respond neither to the logic of productivity nor to that of the holiday, neither to efficiency nor to inertia, but which are instead based on the circulation of knowledge, resources, attitudes, and skills.
