Integral Arts

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(A) 1. IDEA
(A) 2. ORIGIN and/or FLOW: Creativity is WHAT?

(B) 1. WHAT IS INTEGRAL ARTS (IA)?
(B) 2. METHODOLOGY

(C) 1. STATE of the ART

(D) INTEGRAL ARTS + : Connections
  1. INTEGRAL ARTS + BUSINESS
  2. INTEGRAL ARTS + COMMUNICATIONS
  3. INTEGRAL ARTS + SCIENCE
  4. INTEGRAL ARTS + SOCIETY

(A) 1. INITIAL IDEA

No substantial evolution in human history has been made without deep changes in individuals, and , more so, on a cellular level within the body. The changes inside and its increasingly emanating positive power are 'contagious' and - contribute finally to change in our world. What does that mean: our 'world'? It is our specific incorporated perception of what 'world' means: the vicious circle of mainstream habits or the upwards spiraling way of indefinite potential, all possible in-between gray zones included.

A quote from the remarkable Martial Arts Master B.K. Frantzis sums up our actual problem : "Information without wisdom is useless". Nothing shows us better our functional way of living than shifting and moving 'information' (including ourselves as the body of information that we are) back and forth for "ideas" of profitability, egomanic and neurotic fulfillment and the pretension to be active. These are fueled by the underlying guilt feeling : "If I am doing nothing, I am useless, so I better do something". All this happens without wisdom.

One US advertising 'hook'line states:"If it can be imagined, it can be done". Recent mass shootings as well as the Hitlers of this world prove this phrase to be the silliest ever written. Yet, it is successful and effective since it fills everyone with the idea: I can imagine something, too, and I can manifest it!

The lack of wisdom is of apparent significance. But who then defines what is wise?

We think that an individual who with his utmost energy tries to answer the question "Who Am I?" is on his way to wisdom. Nothing less but listening to and incorporating upcoming insights and revelations can show us wisdom in a lively and vigorous way. Wisdom is never 'second hand'. Therefore books and otherwise intellectually received information cannot provide wisdom. Connecting with one's wholebody to the all-embracing and -expanding life energy itself, actually consciouslessly being this stream of life is a way of wisdom.

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(A) 2. ORIGIN and/or FLOW: Creativity is what?

What is the source of creativity? Well, this is not supposed to be a philosophical "tractatus". From ancient Chinese sources to Wilhelm Reich to contemporary scientists and artists there is a belief in a lifeforce which permeates everything and everyone. Actually, the Chinese (especially the Taoists) were much more pragmatic and precise: they created ways to experience and develop this force as ongoing practice and on deepening levels. Let us say this lifeforce(Chinese:chi) appears and disappears in continual ways of changing from potential to manifestation to potential to manifestation. . .

Is there an origin? Perhaps there is an origin of manifestations, but of the potential? What other do we need to know than that humans are manifestations able to create other manifestations. Yet, which directions do we intend to give our manifestations, which shape should they get, and,after all, shouldn't we sometimes dump an idea?

Integral Arts contributes to this discussion.

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(B) 1. WHAT is INTEGRAL ARTS?

Is the source of creativity the same for all its expressions? We think it is. Are there connecting ideas and 'languages' between different art forms? We think this is so. Actually that is what Integral Arts explores: The source of creativity and its manifestations.Or: the natural connection of spirituality and creativity.

The source is explored in the field of Internal Wholebody Work. These explorations find their expression or outflow in i.e. music, fine arts, inventions, movement, poetry or the Internal Martial Arts. The term 'wholebody work' means all ways which work effectively in setting free bound energy and integrating it into daily life. Bound energy is stored as unconscious memories in i.e. the cells, connecting tissue etc. This bound energy is transduced to an integrated flow of free available energy. Thus it is a process to make 'potential' energy available for immediate release, for manifestation. Actually, manifestations happen all the time but it is the unity of free(d) energy and intention which gives manifestation responsibility.

The attributed 'internal' emphasizes that this process seeks its beginning inside one's body. 'Wholebody' means an energetic field which includes emotions as well as thought- or movement patterns. It also includes our 'aura'. Neither intellectual nor psychological means are able to reach deep enough into this wholebody field to enable the changes we are describing here.

Intention is the crucial factor to determine for which aim the increasing amount of energy should be used. Much could be said about responsibility in this context. 'Response' to what or whom? Since this text should be a general description and not a theoretical discussion we leave it to the process of practicing internal wholebody work to show the answers.

So what is INTEGRAL ARTS?

Much more than anything else, IA is a process of manifesting by 'losing', an extremely difficult (thought-)process for the Western World to accept: to develop ones full potential (which is already 'here') one has to 'lose', to let go of the 'wrong' information which tries to dominate and hide one's 'original true nature'.

All resistance against the unlimited lifeforce has to be given up to come to and use the source of creativity.

In its wholebody work as well as in its artwork IA tries to manifest just that: to BE in a continiual flow of creativity, a fearless stream in which not every idea has to be manifested.

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(B) 2. METHODOLOGY

There are different ways in which IA works with the wholebody and makes its artwork part of the integration process. Thus art becomes more a creative outflow or emanation than an 'expression', which always implies some degree of violence. IA does not work with 'pressure', except in specific research. Some of the principles are listed here in a very basic outline.

  1. The body has to become conscious of a feeling and movement of constant falling. Without a deep understanding of this movement and its continual practice an integrated energetic flow is impossible. The body builds up tension against gravity (that is what exhausts us and that is why we need so much sleep). Practiced in standing, walking, sitting, lying down etc.
  2. IA believes that in order to let the brain work properly, it is prevalent to learn how to put the right questions to oneself and listen to and watch the answers happen.
  3. IA thinks that humans start their (pre- and postbirth-) life with a preference, a 'talent' for either verticality or horizontality. Roughly described it means a more 'spiritual' , individual, intuitive or a more 'social', relationship oriented approach to perceive life. In order to fulfill one's life it is crucial not only to develop this tendency but to discover, develop and integrate the 'weak' side.
  4. Momentum Arts is the name for immediate manifestation of art . We assume that the complete work of art in all its beauty is already there : the process and practice of creating art becomes an effective integrational flow. Art becomes an emanation of the individual as a 'whole', something which cannot be achieved by any mechanical , pattern oriented approach. This is also one of the places for IA to explore emotions in a deeper way, using (musical) instruments, tools etc as a wholebody practice.

These are just some of many ways and 'methods' which are used by IA. There are connections to the principals of Taoism/Zen and the Internal Martial Arts(Tai Chi, Hsing I, Pa Gua) and Chi Kung(better known as Qi Gong). Thus it is highly recommended for Integral Artists to practice one of these or combinations or something with a similar depth.

Spontaneity and creative intelligence are fueled by any of the above mentioned ways and fields.

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(C) STATE of the ART

There is something to be said about the difference between art and craft. If somebody would read an original text to you and would do so in a very expressive and understanding way , this is still a craft, an interpretation of a creative work. The creative impact was in writing the text not in reading it. Still, virtuosos of all kinds are celebrated as 'geniuses', artists of 'high' qualities. But in reality they are (more or less) virtuoso craftsmen, since their personal, original creative impact is often close to non-existent. All of the risk, frustration, fear and persevering energy which has to be taken to conceive and manifest unique ideas or revelations are not the craftsman's concern, who is acting much more on the 'right-wrong' level -especially in our technologically oriented times. A unique creative artist has to make mistakes in order to do his work. This is exactly what the craftsman -via technique- tries to avoid. For an artist all techniqe follows the idea, it doesnt constitute it.

Since all arts are extensions of the wholebody ("The body does not lie!"), one can see the tendency in which a particular artist or group is moving: more towards a controlled, technically oriented or an open, freely expressed performance. In the first case the artist will - voluntarily or involuntarily - react to his environment. He might intellectually refine his work but will never set free the memory-bound energy inside. In the second case an artist has at least a chance to do just that: free himself, which is then naturally reflected in the manifested works.

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(D) 1. INTEGRAL ARTS & Connections: BUSINESS

IA predicts a near future in which the arts and business will create new more flourishing and nourishing forms of cooperation. 'Sponsoring' singular artists or events is just another description of the former dependency of creative artists on aristocracy or the church, interwoven with rare individual patronage. New structures will be created in smaller, more private setups, but also on corporate levels.

The talents and capabilities of artists go far beyond composing a piece of music or painting a picture. The uniqueness and originality required for creating is achieved neither by talent alone nor by technique. Perseverance, sometimes brutal honesty towards oneself, the ability to develop and let go of old perceptions, the stamina to stand the permanent ignorance of society (artists are probably the only group without a lobby), all this and more make creating art a way of living which requires everything without a guarantee or even outlook for proper 'rewards'. Neither 'innovators' in industry nor the fast 'shooting' advertising business have anything to do with that.

Opening up to and following through with inspired, unexpected, probably 'wild' ideas against all odds and with no support (the mainstream got its way by supporting the already known and accepted, not anything unusual) takes a lot of courage.

Looking at oneself during this whole process with honesty, not letting oneself be overtaken by vanity and the 'fruits' of 'integrating' oneself into the muddy waters of opinions, pride and greediness takes a lot of energy.

Living with the option -or threat - of instantly new insights and revelations can be quite stressful, especially if the new requires immediate manifestation.

Making a living with something besides one's 'real' work would not be very popular among most of the population. Yet, it is the artist's (kind of schizophrenic reality around the world.

All this is different from improving a given tool or solving a problem. It is different from maintaining a particular framework in which one is given a specific challenge or riddle to solve.

SMALL STRUCTURES

A model for a new, elegant, yet flexible form of cooperation could consist of three people: an artist, a facilitator and a communicator. Unlike some distant 'sponsoring' or a private or public grant without any continuation, the three people involved would share their enthusiasm for internal/external change, their passion for art. They just take on different roles on the road of manifesting specific ideas and projects: the facilitator is someone with a sufficient amount of money to support the project in its whole financially. The communicator is responsible for internal and external communication flows among the group, outside contacts and the media. The artist is doing his work of creation. Still, this is not a team of 'specialists', to the contrary, any crossover talents and inputs are highly welcomed.

All share their unique and individual talents in the ongoing process of brainstorming, discussing, developing and manifesting. Doing this in an enjoyable, open athmosphere provides the fresh breeze: free and without holding back . There is lots of room for individuality but no place for egomaniacs.

For all the projects and their realization independence from state (institutions) and church (belief systems) or any personal domination is important. Different ideas in different stages might take shape at the same time.

The continuous process of discovering, manifesting, communicating in short: creating should be a celebration of different aspects of life, the lifeforce itself.

LARGER SETTINGS

Modern companies with their requirements for flexibility, complexity, fast adjustability might want to use the ongoing input of unorthodox thinkers and practitioners.

Companies could have brainstorming and exchange with artists on a regular basis. The 'deal' could be: 'company' provides artist(s) with working spaces and a living support. In return 'artist(s)' are required to give their subjective, intuitiv, objective,'crazy'or unorthodox input on a specific issue or a list of problems. Artist(s) have a contact person or group which formulates these challenges in an understandable way in order to get a useful response. Topics could be i.e. a permanent 'change research' and interpretation, which would include a 'future workshop' or all questions relating to creativity and their translation to business and company structures as well as finding solutions to specific problems.

IMPORTANT: 'domesticated' artists are neither useful nor fruitful to this aim: free, controversial, 'strange' views are required. In bridging the gap between those and the company's internally adjusted, traditional ways of operating and problem solving, completely new approaches can be found.

Gain for the company: permanent fresh infusion of originality, uniqueness, unorthodoxy, seemingly 'impractical' and 'useless' ways of thinking and handling challenges as well as new approaches and solutions to existing problems.

Gain for the artist: Since hunger might be the mother of survival inventions but definitely not of artistic creation, provision of e.g. working space and basic necessities is a great relief. They also have a direct input into socio-politically relevant processes in a free and unlimited way by doing exactly what they think their 'calling' is. Again: Uniqueness is not only appreciated but required.(Maybe that sorts out some honorable craftsmen from inspired creative artists which is ,of course, not meant to be as a putdown).

The basis of Integral Arts is 'Integrality': internal wholebody work. By making services and courses available for developing consciousness throughout the company, the frequently existing hostility among employees could be redirected into a more fulfilled way of living and working. For the artist and the members of the contact group such a practice should be a fact.

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(D) 2. INTEGRAL ARTS & Connections: COMMUNICATIONS

The 'Electronic Superhighway' is somewhat interesting: it is hidden and at the same time very much present. The tools become smaller and smaller and at the end one might not even find any microchip at all, not to mention handling the 'virtual' reality. As with any technology the sideeffects are sometimes funny, but mostly painful and ignored or unknown at the beginning of its development.

Technology is not the solution for human relationships. There are lots of requirements, all laden with the risk of malfunctioning: computers(hard- and software), phonelines, phones, education to handle the tech and, last but not least, the money to afford it. The "first" world invents something, educates its people and provides(more or less) the jobs which pay enough to let the educated people buy it. The first world also created the qualifications(or 'discrimination') of what it means to be "first", "second", "3rd" or even "4th" world. And new communication technology can be afforded and used according to this list by just a few people. But the first world also provides hope by creating new markets and defining what and where they are. And ,of course, markets have to be saturated. If that sounds cynical then the presently existing economic politics are cynical!

IA communicates internally , from cell(s) to cell(s). Instead of using tools, the emphasis is on triggering the internal information of the Wholebody. By freeing more and more of its own unconscious memories it creates a flow to another entity (human or not human). This flow happens according to how much free energy entity 'A' emanates and entity 'B' is able to absorb and respond to.

This is a very schematic image. In reality this process is permanently happening and very complex. (Complexity is nothing to fear for a consciously developing person, it actually generates increasing beauty).

The response to an artwork or -event is bound to its inherent depth and the openness of its respondent.

Just one idea of how to increase the ability to absorb: it could prove to be a fruitful investment for i.e. museums to provide visitors with an inspiring space in which relaxation techniques are provided and practiced at specific or ongoing times. More openness initiates deeper response and a more enjoyable art experience. Also it initiates a wish to repeat this feeling.

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(D) 3. INTEGRAL ARTS & Connections: SCIENCE

Probably the worst thing the Christian Church ever did was to give in to a search for a 'scientific proof' of God. Especially by following an Aristotelian logic the church definitely consolidated its power. But we think it sacrificed the individual, inner ways of 'mystical' knowing, it actually denies them.

One of the most powerful protagonists of 'explaining' and 'proving' God's existence was Thomas Aquinus. Strangely enough he suddenly stopped writing while working on his 35th book and exclaimed: "Everything I wrote is straw!" Even stranger is the fact that nobody seems interested into understanding what happened: the church is still teaching this 'straw'.

What's our point? Well, there is a close relationship between Western Science and Western Religion. One of the connections is to make a distinction between subject and object. By that overall Unity and an allpervasive lifeforce are denied. But anything based on a dualism leads to some kind of 'fight'. One tries to prove 'objectively' what cannot be proved, since everything is based on an assumption. More important is that the human quality got lost: the individual with his capacity to activate his internal knowledge (of the lifeforce, the spirit or creative intention, its wholebody balance or 'health') is not of any importance. Instead systems are created to prove all kinds of things, mostly themselves. These sysyems are imposed on people who then lose more and more their ability of listening inside. These systems are merely repair systems.

The danger of scientific systems, educational systems, philosophical systems etc is that they become beliefsystems for the people who are working in and on these systems as well as for anyone who does not question them. The people who are carrying them forward dont express something they incorporated but merely represent some part of something they might not even understand as a whole. They gain a lot of external power, while their internal power is deteriorating. But, as the saying goes: 'If you can get away with it, it's ok!'. - Is it?

The estrangement between people and science/religion is already backfiring: people have become 'contemporary consumers' with neither interest and understanding of science nor intention for inner knowledge of spiritual issues and the lifeforce. Neither scientific nor religious systems encourage the 'average citizen ' to find his personal revelation(s) and solution(s) . The administrators of systems are doing their job: protecting these systems from harm. The individual doesn't play a major role in this game. Life happens on a survival level which is a system of competition and separation.

IA thinks that by feeling connected to the inner lineage of science one is provided with all important information. By integrating this information in one's life on a continual basis, Science becomes an Inner Science, a SCIENCE of BEING. This can be achieved through a range of practices, many of them in use for hundreds or even thousands of years. All 'side-effects' are known. One can start at anytime anywhere and one needs neither special equipment nor special talent. Perseverance is probably the only requirement.

There are many options for cooperation between traditional Western Science and Integral Arts. However, at least a basic openness is reqired. Many aspects of for example 'Chaos-Theory' with its emphasis on process research are very close to the ideas of IA.

The field of consciousness, especially how heightened consciousness expresses itself in motion could also be an interesting field. There have been all kinds of projects investigating meditators in stillness. But what about the very complex area of creating instantaneously, of improvising, of immediately manifestating an intention? What do our brains, our nervousystem, our organs, our Wholebody do with surprising new ideas,events, visions? How do we manifest ideas? Can we prepare ourselves for spontaneity (a paradox in itself)? And what role would consciousness practices like meditation or the Internal Martial Arts play in this process? How would the process of creating art be influenced by them?

Besides its own ongoing research and work process, IA is open for crossover and/or synergetic projects.

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(D) 4. INTEGRAL ARTS & Connections: SOCIETY

The individual is 'thrown' into this world, a world of flux where all states of stability are temporary illusions. Nobody seems to be prepared for that. To the contrary, it seems normal to cling to protective systems on all levels. The range goes from education to the arrangement of our relationships and professions. To "play it by the rules" of society has become more important than to listen to one's inner voice and follow through with what one hears. The biological family is supposed to be a harbour of safety. Countless stories of family tragedies show that this is more the exception than the rule.

IA thinks, that we are prepared for this life of flux if we accept the idea that all form (including our own) is bound to change. Connecting to the unlimited sea of consciousness means unlimited energy and potential, whereas clinging to old forms and patterns imply the fear of death.

In a social sense the in-dividual (undivided entity) has to find his partners, his 'family', his place, his task, his challenges. None of these are stable relationships, there is no guarantee for duration or quality. By changing oneself, all relationships around might change: that is the risk of development.

To find people who not only 'tick' in a similar frequency and also make 'changing' a habit (another paradox) is one of the strongly supported ways of IA. This enables an amazing range of flexibility in social relationships as well as in cooperative projects. New structures grow out of the personal changes of their participants. The other side of the coin means growing older by hanging on to old ideas and systems and dying a painful death which actually starts early.

IA sees society as a highly complex and potent organism in motion, which can only be destroyed by not acknowledging permanent change as its basis from individuals as well as groups or structures. IA does not believe that creating means destruction. The fading away of anyone or anything 'expired' does not need our action. But our influence through our creative intention is required.

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