art and consciousness in the post-biological era
24- 26 july 2006
COSMIC ENERGY - CONSCIOUS ENERGY
From Matter to Immateriality and from Immateriality to Matter
I have acquired knowledge through my body but I have to activate that knowledge through a search for life.
I project myself into a suspension of time and from this immaterial bridge I return to the same material field where I was before, but carrying a new perceptive field within me. In this leap from matter to non-matter, the thrust comes from the mind but it is the immaterial world which directs and shapes my life.
My method of investigation interrupts the system of interpretation.
The interruption of the system of interpretation is not based on human methodology; it arises from apparently erroneous behaviour, an act of free will, and is simply followed by unwritten meaning, with no philosophical basis.
Once the immaterial world manifests itself in my consciousness, it takes a decisive hold on my life. So I stimulate the memory recorded at my conception, which the process of learning to survive had made me forget, and slowly I understand the links between my cosmic visions and my intellectual consciousness.
The images appear in the quiet of my body, not in a solemn way, they come and go, and it is hard for me to hold them for a long time by staring at them. They are driven by an unknown, immaterial force.
It is a world which has no room for doubt.
- Cosmic Movements
I saw my first cosmic movements with my double, my cosmic body, in May 2000, and I wrote about 700 down; those movements were much more agitated, more aggressive as if they wanted to break down the doors and put my body and my senses on another pitch. Today they are calmer and accompany me in a delicious way, in a state of alertness which releases me from this predatory universe.
For a long time, in order to write them down, I kept them in my memory in stages by repeating them every day; some stages could contain up to 30 cosmic movements and I would not let myself look directly at my cosmic body, that is, let its image appear in my consciousness, because I knew that it was constantly evolving and if I followed it I would forget the earlier cosmic movements. I was annoyed with myself for stopping on some movements to try and write them down.
Today, I look at them fleetingly, and afterwards my mind forgets them, but my body does not. The aim of these cosmic movements is not to master or perfect the movements themselves, but to open up my cosmic consciousness.
When I say “let its image appear in my consciousness”, I am not talking about an inner image, but an external image which takes up a specific area. For the videos, I wanted to hide my face behind a standard mask which partly obscured my view and I had trouble seeing my cosmic body completely.
By following my cosmic body, I mould myself in its energy, not worrying about the parameters because my physical movements condition and model my sensibility and not the reverse; the body and its energy are stronger than the mind, but it is with the mind that I propel my new sensibility.
Writing down the cosmic movements is a painstaking, extremely tedious task and, curiously, the process of describing them and making them conscious has given me another way of structuring my writing and formulating my experiences. This work has led to a decoding of the intellect.
I always see my cosmic body in motion, which means that it is always moving when I see it, and it is up to me to catch these movements with my body in simultaneous forms. During the day, I work on the cosmic movements several times and there are new ones each time; but for practical reasons I film them in my Paris studio in a single stage in the day. On average, three to ten movements in each stage, four to five days a week. My cosmic movement videos bear witness to my journey as an artist, the desire to leave a mark in time. I have no wish to make a precise tool for teaching cosmic movements because I do not think it would be of use to anyone but me.
These cosmic movement videos, like all my videos, are working documents.
My cosmic movements do not correspond to any ritual; they are rather the opposite of ritual because of their constant renewal and the freedom of the gestures.
In my transcriptions of cosmic movements, sometimes, while I was performing the movement, I would hear a sound so loud that I could not ignore it and I translated it into a word I did not know, which was the name of the cosmic movement.
When I made the video, I decided to add background music for several weeks and so I ignored the inner sound it made. There came a day when I could not bear music to accompany my movements and I once again began to listen to the sounds, which were different for each movement and still in an unknown language. Today, I produce sounds as they come to me, coordinated with the movements.
I do not practise the movements too much before filming them because afterwards it is as if I had digested them and what I do is even more imperfect and mistakes slip in as if my body had had enough. So there is no point in practising them to try to perfect the movements.
What I do in front of the video camera is not a rehearsal, it is a direct energetic action, it is there that my body absorbs the movements in a few minutes and goes on to the next one; the energy of another form of knowledge is transmitted by my double.
The cosmic movements are instantaneous actions which can be seen as diagrams.
I have been through this tunnel several times in material and immaterial form. After several journeys I came to the end of the tunnel. The material world takes shape in knowledge which is far removed from my knowledge and today I want to explore the immaterial world with vigour. I constructed this tunnel in my Normandy studio in October 2005. It is 10 m long and 1.5 m in diameter, made of synthetic foam, metal mesh and polyethylene film.
The cosmic leaves are part of my cosmic visions like my cosmic landscapes and entities which I presented at the ‘Altered State Conference’ in Plymouth in 2005.
Wanting to remember the details of the images and wondering how I could do it as faithfully as possible, I stopped myself from plunging into my vision and so restricted the size of the vision. When I freed myself from this attitude and concentrated all my attention on the images quite freely, they spread to my entire visual field and the colours became brighter.
I do this work without any aesthetic function, staying as close as I can to what I SEE, without intellectual interpretation, because that is how energy is.
I started with an initial selection of images chosen for their graphic simplicity. There are evolutive cosmic leaves which require a different treatment.
I use my eyes to capture and memorise the image like a photo. I then draw it and lay it on the background where I saw it. In this way, I bring the immaterial to the surface of matter.
I saw this cosmic leaf just after a physical perception and thus after understanding the function of the “death cleaner”, a function which corresponds to beings who die when they are ill. In my cosmic visions there are several elements deeply linked to the human being.
The blue light is the connection with the other immaterial and material worlds. It is a blue which is difficult to tame – dazzling, clear and infinitely transparent.
The blue appears for a few moments, and then goes away; sometimes like a path, with footsteps. I have always seen it in a circular form, always as light perfectly circumscribed in a round shape. Twice in my bedroom in Paris and the last time in the palm of my hand in Mexico.
- A Time Phenomenon on a Particular Day Through Three Experiences
Early one afternoon in April 1998, I was standing at the corner of the rue Vavin and the boulevard Raspail, in Paris, waiting to cross the road to go to the Luxembourg Gardens. I noticed that all the cars driving past left a streak of light behind them. I was excited by what I saw and stepped onto the road each time a car went by to stand between it and the streaks of light. Afterwards I stepped back on the footpath. I did that several times – fortunately the traffic was light and there were few people in that part of the street. The streaks of light, los rastros energéticos, stayed for a moment and then faded. Visually they were like photographs taken with a time exposure in which you can see the streaks left by the cars. I saw two people, a man and a woman, walking slowly towards me along the same footpath, to the left. They were intrigued by my movements. They were looking oddly at me so I decided to cross the road discreetly and go down the rue Vavin to the Luxembourg Garden.
Crossing the Luxembourg Gardens
I crossed the garden and in the part where there are a lot of trees I looked up and saw movements, shadows, or rather lines which had nothing to do with the foliage. I stopped and watched and they were all around me, not only up high but also in front of me and low down. I saw them as moving layers; they were like full skirts dancing, drawn by dark lines without clearly defined colours.
I was fascinated by the spectacle; I knew there was no point going any further, too bad for my appointment at Saint Germain des Prés. I went back home.
The Fountain of Knowledge
Near my old flat in the 14th arrondissement, I was walking towards a roundabout when I saw an enormous circle with thousands of jets shooting upwards out of sight. They were all aligned and made up an enormous disk. It was strange. It sprang out of nowhere and at the same time the fountain of knowledge was in a specific place and …it was terrible, its power created a void in my perception. All around there was nothing but the fountain.
There, I understood that limits are not part of the human species.
So, in the space of a few hours on a single day in April 1998 I had these three different experiences of energy.
The time phenomenon involved in the streaks of light, apparently the most commonplace, interested me most for I realised that variations in time are primordial for SEEING energy, because it is the inner time of my body which is out of sync with the time that regulates the material world. So by adjusting my inner clock, I automatically reprogrammed myself and I saw this energetic phenomenon. Thus, time, a modular material, is an important mechanism in our knowledge and unconsciousness.
Another day, in 2002, I saw the image which I will show you now, which is neither an entity nor a cosmic landscape nor a cosmic leaf, but an abstraction in which you can move around. It is an immense structure with an infinite number of compartments. You can go from one to another and each is a world in itself.
What I saw was like that, structures perfectly divided into squares by luminous yellow cords against a black background. It is a relationship to time, in each time there is a world, and by making changes to my inner time I can move from one world to another.