Ana Iribas Rudín
Researcher and teacher in art and psychology, visual artist, art therapist, Gestalt and integrative therapist, translator. Holds/has held teaching/research positions at Universidad Complutense de Madrid, Universidad Autónoma de Madrid, U-tad and Fondazione Antonio Ratti (Italy).
Studies/research at University of California, Institut des Hautes Études en Arts Plastiques (Paris), Université de la Sorbonne (Paris), Fondazione Antonio Ratti (Italy), Museum-Schloss Moyland (Germany).
3 years of medical studies, BA & MA in fine arts, MA in art therapy, Ph. D. in fine arts with emphasis in psychology. Humanistic and transpersonal training: SAT process (Claudio Naranjo) and Gestalt training (Escuela Madrileña de Terapia Gestalt).
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Address: Facultad de Bellas Artes
Calle Greco, 2
28040 Madrid
Spain
Studies/research at University of California, Institut des Hautes Études en Arts Plastiques (Paris), Université de la Sorbonne (Paris), Fondazione Antonio Ratti (Italy), Museum-Schloss Moyland (Germany).
3 years of medical studies, BA & MA in fine arts, MA in art therapy, Ph. D. in fine arts with emphasis in psychology. Humanistic and transpersonal training: SAT process (Claudio Naranjo) and Gestalt training (Escuela Madrileña de Terapia Gestalt).
More info:
http://www.angelfire.com/art2/ana.iribas-cv.eng
https://bellasartes.ucm.es/ana-iribas-rudin
Address: Facultad de Bellas Artes
Calle Greco, 2
28040 Madrid
Spain
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The chapter deals with the relation among consciousness, states of consciousness and creativity.
La finalidad era detectar ideas previas sobre el daltonismo, si se cree que se tiene o se podría tener esta condición, recabar opiniones sobre si condiciona el modo de pintar, si es importante conocerlo para el profesorado y el alumnado de pintura, su opinión acerca del estudio sobre daltonismo y la enseñanza-aprendizaje de pintura, su deseo de recibir un test CAD de visión cromática y su disposición a participar en el estudio.
The results of a survey carried out at the Faculty of Fine Arts of the Universidad Complutense de Madrid, Spain, are analysed.
The goal of the survey was to detect prior conceptions about colour blindness, if the respondents believe they might have or have this condition, to gather opinions about the possibility that it conditions the way of painting, if it is important to be knowledgeable about dyschromatopsia for teachers and students of painting, opinions about the studt on colour blindness and the teaching-learning of painting, their willingness to take a CAD colour vision test and their disposition to enrol the study.
No existen investigaciones monográficas previas sobre la obra de Susan Hiller que la aborden desde la óptica de la psicología de la consciencia. Como estudio de caso, el presente trabajo constituye, pues, una aportación original cuya conveniencia radica en el estudio de la producción de la artista Susan Hiller a la luz de un enfoque psicológico de los aspectos y procesos de la consciencia.
El interés racional de Hiller por lo irracional encuentra su paralelismo en cómo se ha desarrollado esta investigación, que analiza de manera intelectual un mensaje y una experiencia de orden ilógico y misterioso.
En una primera parte se han trazado y recorrido en lo esencial las cuestiones básicas relativas a la consciencia, los estados de consciencia, las experiencias anómalas, el inconsciente y la psicología profunda, así como ideas relativas al vínculo entre consciencia y realidad, todo ello con vistas a contar con la base psicológica necesaria para abordar las partes segunda y tercera de la investigación, centradas en Susan Hiller, sin necesidad de aclarar todos los conceptos psicológicos que entran en juego en cada aspecto que se analiza de su proceso creativo o de su obra.
El estudio de la obra de Susan Hiller a la luz de la psicología de la consciencia amplía la comprensión de su producción artística por medio de un enfoque muy emparentado con la intencionalidad y el método de trabajo de la artista.
La investigación elucida el poder de la producción de Hiller para apelar a la consciencia del espectador y copartícipe de la obra, para confrontarlo con la extrañeza en lo cotidiano, para hacerlo cuestionarse la percepción de las cosas, abriendo interrogantes en la aparente seguridad en la realidad dada y brindando oportunidades o testimonios de la irrupción de lo extraordinario.
La alteración de la consciencia ordinaria permea una importante actividad comisarial, editorial y artística de Hiller y las experiencias anómalas constituyen los temas explícitos de una buena cantidad de sus obras.
Draw Together, que requiere la implicación directa de los participantes, se plantea como una investigación colectiva sobre telepatía. De esta obra deriva espontáneamente la obra automática Sisters of Menon, que supone una experiencia de disociación y un enigma que demanda ser descifrado.
La cuestión del inconsciente freudiano está muy presente en su obra From the Freud Museum, que funciona como colección de asociación de ideas entre objetos, imágenes y títulos, cuya mostración conjunta se abre a cadenas de nuevos significados. Aspectos de la psicología freudiana como el chiste, las parapraxis y lo siniestro son analizados en cajas concretas.
Hiller apunta explícitamente a cuestionar la naturaleza proyectiva de la percepción, poniendo en duda si captamos el mundo o lo creamos internamente y enfrentándonos a nuestras propias proyecciones, en el caso de la obra Belshazzar's Feast, motor de ensoñación y pareidolia.
El inconsciente colectivo junguiano, con la potencia simbólica del mándala, evocadora del arquetipo de unidad psíquica, es patente tanto en los archivos sonoros como en la propia estructura formal de Witness.
Pueden ser puestas al servicio de la autopoiesis pero también conllevan el peligro de alienarnos. Tenemos ante nosotros futuros posibles que abren grandes preguntas para ser tratadas desde el arte.
The new nano-, bio-, cog- and info- technologies, considered under the metaphor of visibility, lead us to a profound change in the world and in humanity itself. They can be put at the service of autopoiesis but they also involve the danger of alienation. Before us lie possible futures that open big questions to be tackled by art.
Corresponde a una comunicación homónima en el congreso nacional "El dibujo del fin de milenio", Granada, del 24 al 26 de febrero de 2000. Universidad de Granada, pp. 173-176.
La prevalencia de esta modalidad de visión hace que sea un tema ineludible en el campo de la enseñanza universitaria de Bellas Artes, en especial en el ámbito de la pintura, donde el manejo del color resulta esencial en muchas asignaturas. Si se pretenden una enseñanza inclusiva y un enfoque que tenga en cuenta las particularidades individuales que condicionan el proceso de aprendizaje, es necesario tomar en cuenta este especial modo de percibir el color. Sin embargo, tanto entre el alumnado como entre el profesorado, no hay una clara consciencia de este problema y de las necesidades que acarrea.
Por ello resulta de utilidad estudiar el impacto de este tipo de percepción en la enseñanza-aprendizaje universitario de Bellas Artes y realizar una guía docente que pueda orientar tanto al profesorado como al alumnado para optimizar la comunicación cromática entre el profesorado y el alumnado y para que sean tenidas en cuenta las particularidades de la percepción daltónica en el diseño de las tareas y en su evaluación. En particular, no se trata de intentar que el alumnado daltónico ‘pinte normal’ (lo que sería incoherente con su modo de ver) sino de comprender por diversas vías (por ejemplo, apps) cómo es la fenomenología cromática de cada alumno/a con daltonismo.
[It is a video presentation and therefore cannot be uploaded to Academia.edu. Contact me if you want me to send it to you.]
Among contemporary visual artists, it has not been infrequent to resort to altered states of consciousness as a tool for accessing new visions to be integrated in their production. The choice of artists in this paper has been motivated both by the importance of consciousness alteration in their creative process and by the extensive autobiographical literature written by these authors. A double analysis of statements and artworks covers the scope of the verbal and the visual, of the phenomenology of the mind and its expression on paper or canvas. Salvador Dali’s painting and drawing are discussed in the light of his interest in destabilizing ordinary consciousness, playing with the senses, approaching madness, dreams, reverie, hypnagogia, and of his paranoid-critical method, a way of bringing the multiple meanings and ambiguities of primary-process thought to coexist simultaneously in consensual, ordinary perception, putting the external reality to the service of the reality of the spirit. Henri Michaux’s many experiments with psychedelics (such as mescaline, psilocybin, LSD or hashish) were the consequence of his desire to think in a new way, to open his consciousness beyond its ordinary limits. His first approaches to the drug experiences, which occurred under a psychotomimetic paradigm, consisted in taking notes and drawing during the effects of the substances. With a growing confidence, he later became more contemplative and passive, and the contents of his experiences acquired a more mystical character. Antoni Tapies views art as a way of deep and spiritual knowledge, as a tool for the evolution of consciousness and as an unparalleled inducer of contemplative, ecstatic and even healing states. His use of poor materials draws attention to the sacredness of the everyday elements of life, and postulates a regard that appreciates beauty even in the things considered ugly. Tapies has a prevailing interest in mysticism and Eastern thought, especially Zen, Taoism and Buddhism, and himself practices idiosyncratic forms of meditation during his creative process, destined to empty the mind and concentrate in the instant.
Among contemporary visual artists, it has not been infrequent to resort to altered states of consciousness as a tool for accessing new visions to be integrated in their production. The choice of artists in this paper has been motivated both by the importance of consciousness alteration in their creative process and by the extensive autobiographical literature written by these authors. A double analysis of statements and artworks covers the scope of the verbal and the visual, of the phenomenology of the mind and its expression on paper or canvas. Salvador Dali’s painting and drawing are discussed in the light of his interest in destabilizing ordinary consciousness, playing with the senses, approaching madness, dreams, reverie, hypnagogia, and of his paranoid-critical method, a way of bringing the multiple meanings and ambiguities of primary-process thought to coexist simultaneously in consensual, ordinary perception, putting the external reality to the service of the reality of the spirit. Henri Michaux’s many experiments with psychedelics (such as mescaline, psilocybin, LSD or hashish) were the consequence of his desire to think in a new way, to open his consciousness beyond its ordinary limits. His first approaches to the drug experiences, which occurred under a psychotomimetic paradigm, consisted in taking notes and drawing during the effects of the substances. With a growing confidence, he later became more contemplative and passive, and the contents of his experiences acquired a more mystical character. Antoni Tapies views art as a way of deep and spiritual knowledge, as a tool for the evolution of consciousness and as an unparalleled inducer of contemplative, ecstatic and even healing states. His use of poor materials draws attention to the sacredness of the everyday elements of life, and postulates a regard that appreciates beauty even in the things considered ugly. Tapies has a prevailing interest in mysticism and Eastern thought, especially Zen, Taoism and Buddhism, and himself practices idiosyncratic forms of meditation during his creative process, destined to empty the mind and concentrate in the instant.
Among contemporary visual artists, it has not been infrequent to resort to altered states of consciousness as a tool for accessing new visions to be integrated in their production. The choice of artists in this paper has been motivated both by the importance of consciousness alteration in their creative process and by the extensive autobiographical literature written by these authors. A double analysis of statements and artworks covers the scope of the verbal and the visual, of the phenomenology of the mind and its expression on paper or canvas. Salvador Dali’s painting and drawing are discussed in the light of his interest in destabilizing ordinary consciousness, playing with the senses, approaching madness, dreams, reverie, hypnagogia, and of his paranoid-critical method, a way of bringing the multiple meanings and ambiguities of primary-process thought to coexist simultaneously in consensual, ordinary perception, putting the external reality to the service of the reality of the spirit. Henri Michaux’s many experiments with psychedelics (such as mescaline, psilocybin, LSD or hashish) were the consequence of his desire to think in a new way, to open his consciousness beyond its ordinary limits. His first approaches to the drug experiences, which occurred under a psychotomimetic paradigm, consisted in taking notes and drawing during the effects of the substances. With a growing confidence, he later became more contemplative and passive, and the contents of his experiences acquired a more mystical character. Antoni Tapies views art as a way of deep and spiritual knowledge, as a tool for the evolution of consciousness and as an unparalleled inducer of contemplative, ecstatic and even healing states. His use of poor materials draws attention to the sacredness of the everyday elements of life, and postulates a regard that appreciates beauty even in the things considered ugly. Tapies has a prevailing interest in mysticism and Eastern thought, especially Zen, Taoism and Buddhism, and himself practices idiosyncratic forms of meditation during his creative process, destined to empty the mind and concentrate in the instant.
TITLE XR = R ↔ R = Ex Ex ∈ C (Extended reality is reality if and only if reality is experience and experience belongs to consciousness) ABSTRACT We find ourselves at the dawn of the fourth industrial revolution, in which extended reality will be ever more present in our lives. We expect a technical refinement of its crafting and an increasing richness in its content. But, in addition, this type of technologies open the field to a series of philosophical reflections. Do we perceive reality? What is the relation between reality/world and experience? What is the relation between experience and consciousness? What role can digital reality play in the cultivation of consciousness?
Reflections on the body during the COVID-19 pandemic