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Aura Satz: The Trembling Line. Film and multi-channel sound installation, 2015

Richard Bright: Can we begin by you saying something about your background?

Aura Satz: I studied cultural studies and art history in Bologna (Italy) before coming to London to do a PhD by theory/practice at the Slade School of Fine Art. Initially I worked with sculpture and performance but over the last 20 years or so I have become more invested in film and sound. My works operate in constellations, I have a central theme which might manifest in multiple formats, as films, performances, sound works, and so on.

RB: Have there been any particular influences to your art practice?

AS: I was very much influenced by Lis Rhodes who taught me at the Slade, and whom I have since collaborated with. Intergenerational conversations are extremely important to me. I have been teaching for around 20 years now, and I get a lot of inspiration from my students. Teaching also keeps me attuned to practices outside of my own. In my undergraduate studies I was particularly fascinated by iconoclasm and theories of the image based on contact relics. I suppose this has carried through in my later works which attempt to look closely at technologies, prying the apparatus apart, as well as my interest in technologies of sound writing, such as the phonograph – where the groove is a trace and relic of the voice, so to speak. I have always been inspired by female voices, and there are a number of women composers who are key sources of inspiration. I often think of some of the more dialogic works I have made with people such as Lis Rhodes, Laurie Spiegel, Pauline Oliveros, as an opportunity to go deeper into the conversation, not just through the encounter, the film or the recording of a verbal exchange, but even later in the editing process, where I spend a lot of time listening and composing to the cadence of speech or a pause for breath.

Aura Satz: Her Marks a Measure

RB: What is the underlying focus of your work?

AS: I keep returning to the notion of a distributed, expanded and shared notion of voice. Works are made in conversation and use dialogue as both method and subject matter. In my works which draw on historical research I see myself in dialogic exchange with past voices, speaking backwards and forwards, being spoken through. When I have focussed on technologies of sound writing, recording and playback, it is precisely because I am interested in ways in which voices carry through, have been under-heard, and can be ‘listened into speech’. Many previous works focussed on minor histories, using archival research as a starting point, but in recent years I have shifted from the idea of notation of the past towards a logic that is more aligned with a visual or verbal score, an open invitation to think towards possible future manifestations. A score implies a non-hierarchical generosity, suggesting multiple future iterations and no singular privileged way of performing or enacting. Some scores simply suggest a shift in focus, such as Oliveros’ suggestion to listen with the soles of your feet. Many of my works could be read as an invitation to recalibrate attention, ways in which we give it, what is deemed worthy of it, how we might enact a different modality of attention, what we conceive of as foreground and what is background.

Aura Satz: Ventriloqua

RB: You began working with sound, with the piece Ventriloqua, in 2003 when you were pregnant. A number of your later works are to do with acoustic devices and vibration. Can you give some examples of these works?

AS: In Ventriloqua my pregnant belly became an instrument, a medium or antenna of sorts for a thereminist to play the electromagnetic waves. I wore a red outfit that covered all of my body, including my face, and the only visible part was the belly, which looked like an oracular eye or a breast of sorts. Through the trope of ventri-loquism (belly-speaking) I was able to explore the possibility of becoming a conduit for other voices. For me that performance was a powerful manifestation of speaking and being spoken through. In other works such as Automamusic (2008), Sound Seam (2010) Onomatopoeic Alphabet (2010), Vocal Flame (2011) and In and Out of Synch (2012) I focussed on devices such as orchestrions, mechanical music, phonographs, Chladni Plate, Ruben’s tube and optical sound on film as technologies of sound visualisation, some of which manifest sound patterns without quite constituting a notation system or code, and others which encrypt sound in order for it to be read back by a machine rather than a human. All of these enabled me to explore voices that align, interfere, interweave, synchronise, overlap, overwrite, hover between signal and noise, between decipherable meaning and the unfamiliar and as yet unencoded.

Aura Satz: Vocal Flame, 2012


Aura Satz: Sound Seam, 2010 (installation view)

In Sound Seam for example we worked with the surface noises of wax cylinders and vinyl glitch, as well as generating many layers of sounds by recording voices over each other.  At the same time there is something about seeing as informed by hearing, and vice versa, a listening that is in tension with the visible, that I find incredibly generative. This became central to In and Out of Synch, the 16mm film co-scripted and co-voiced with Lis Rhodes, where the optical sound on film patterns conveying our voices are ruptured by stroboscopic effects, due to a deliberate subtle misalignment of the monitoring eyepiece. You end up with a kind of Rorschach effect, certain sounds are punctuated or counteracted by the visual, and their respective rhythms generate a friction that is useful in unsettling standardized readings, making us hear or see differently.

Aura Satz: In and Out of Synch

RB: When did you begin to prioritise film-making and why?

AS: Initially I used film to document performances. When I made Automamusic in 2008 I realised that the only way to get inside these multiple mechanical music devices (which were housed in a museum in a small town in Switzerland), the best method of access to open them up and reconfigure them, was through the camera and the juxtaposition of sound patterns with visual rhythms. In other projects I found that there’s a kind of close-up looking and listening that can only be achieved through film. In my films I am keen to foreground sound, often it becomes the driving force, literally the engine driving the visuals or setting the rhythmic pace of the film. This is true of all of the sound visualisation films mentioned above, as well as a more recent project Preemptive Listening (2018), where the voice triggers an emergency rotating light. A film might feature moments of darkness or silence to allow for the senses to cross-pollinate, the eyes to take on the role of the ears or the other way around. I like the idea of an anagrammatic remapping of the senses, a disruption of hierarchies, a destabilizing of relations, of what is perceived, how, where, by who.

Aura Satz: Preemptive Listening (part 1 The Fork in the Road), 2018, installation view (photo Adam Reich)

RB: As well as exploring different techniques for visualizing sound, a number of your works focus on gender and women’s important contributions to technology. I’m thinking particularly of Oramics: Atlantis Anew (2011), Doorway for Natalie Kalmus (2013) and She Recalibrates (2018).  Can you say something about these works?

AS: Part of my commitment to the notion of a distributed voice is an unsettling of which voices are allowed, amplified within the range of the audible, who gets heard, who is written into the canon of history, and how can we destabilise these readings to allow for new voices to emerge. The film about Daphne Oram was central to my thinking on sound writing as a form of instantiating a new language or notation system, a new soundscape and in turn a new kind of listening.


Aura Satz: She Recalibrates (Pauline Oliveros), 2018 (photo Thierry Bal)

She Recalibrates follows on from this by focussing on women composers working with electronic music such as Laurie Spiegel, Pauline Oliveros, Eliane Radigue, Maryanne Amacher and others, who are portrayed with their hands on a dial, engaged in an experimental type of listening, modulating electricity, recalibrating what is considered noise or signal, what is worthy of being heard, and what can be understood as music. Their hands and ears are literally partaking in the circuit, tuning and recalibrating the signal. I made series of pencil drawings of hands on dials, framed inside a Fresnel lens which generates a diffractive pattern from the centre. The drawings only appear at a certain angle, due to the silver effect of graphite pencil on black paper, but also because the lens incorporates the interference of light reflections. It’s like looking at a lenticular print, or, more accurately, a CD or vinyl record with a diffractive centre, the image is continually changing according to the position of the viewer and the angle of light.  This is emblematic of what I try to do in all my works, allowing for an entangled space between voices, between signal and noise, for both to appear as method and subject matter.

Aura Satz: Tuning Interference on a Dark Matter Radio, 2019

RB: You are taking part in the Science Gallery, London exhibition ‘Dark Matter: 95% of the Universe is missing’, with a sound work Tuning Interference: Dark Matter Radio. Can you say something about your involvement in this?

AS: The curator Sandra Ross commissioned me to make a sound work responding to the theme of dark matter, under the guidance of the astrophysicist Prof. Malcolm Fairbairn, who invited Prof. David (Doddy) J.E. Marsh into the collaboration. I was really inspired by the way some of the experiments have been described as listening out for a signal that has not yet appeared. In particular I was drawn to the description of ADMX, one of many dark matter research initiatives (and a number of related experiments operating in Korea, Europe, and the USA), as “a radio that looks for a radio station, but we don’t know its frequency. We turn the knob slowly while listening. Ideally we will hear a tone when the frequency is right.[1] I wanted to work with this notion of experimental listening by making a sonic diagram of sorts, which would evoke a tuning experience. Together with Malcom and Doddy, as well as audio engineer/music AI specialist Dr. David Ronan who sonified the data, we made a 10 channel sound installation which renders a current hypothetical simulation of dark matter into sound. Essentially the sound patterns are a set of relations between the data, and we mapped it in such a way so as to generate intense psychoacoustic effects in the listeners, exploring sonic equivalents of interference and collision through beat frequencies and other diffractive qualities which shift according to the listener’s location. The listener becomes a radio dial of sorts, as the ears move through the soundscape, micro-tuning with each adjustment. It’s not dissimilar to the effect I described with the Fresnel lens framed drawings. There is no ideal vantage point or listening sweet spot, the listener is embedded within the sound, effectively generating the sound according to their orientation within the speaker ring.

Doddy showed me some visualisations of the simulation of dark matter in a hypothetical galaxy, and it looked like ripples of water or waves diffracting. This particular model of dark matter simulated contains waves[2], and we used speed and density to generate the shape of the harmonic structure. We chose the spacing of the speakers around the ring to be close to one wavelength, so that the coherence between speakers is audible, and yet varies in an interesting way around the ring. I wanted to create a soundscape that felt like a field of vibration and flux, with clusters of density, moments of tension and relief. Close frequency alignment and interference became a compositional principle, much like a kind of acoustic moiré. The arrangement of the speakers reflects the distribution of dark matter, so what you are hearing is not the sound of dark matter per se, but the hypothetical flux and motion of dark matter as rendered through sound. Each speaker is one point of data in the simulation, and if you listen close-up you will hear a singular slow-changing drone rather than all the beat frequencies that occur in the centre of the ring where the sounds interact with each other. Sometimes the wave shape of one point of data is extremely close to another, changing at a variable rate, and this alignment generates a sense of dense patterning, a pulse which gradually accelerates, intensifies, shifts focus and recedes. The sound is sculpted into a rippling flux which gathers and dissipates in such a way that is hard to hold onto or memorise. You can’t possibly internalise the rhythm of the piece, and each listening session will sound quite different from the previous one as your ears fabricate new acoustic illusions, adjust to the sounds, are de-sensitized or fatigued. I spent months tweaking the composition and by the end of a long session I wasn’t sure what I was hearing anymore, what was in between the speakers and what was between my ears.

RB: In terms of the viewer, what are you trying to communicate in this exhibition?

AS: I am interested in the ways in which scientific research activates or distorts a certain intuitive understanding of the world, and I try to find a way to make this come across on a very physical level, as visual or sonic experience. I wanted people to feel enmeshed within a dynamic rotational flow or current, something that can be sensed but which we don’t necessarily have the theoretical frameworks to account for. I find it fascinating that in current research on dark matter we are at a point of knowing unknowing, so to speak – we don’t know what exactly we are looking for and we haven’t yet identified what it is, all we know for certain is that its presence is somehow implied through the way it interacts or interferes with matter. Without dark matter many previously accepted theories are untenable, and as such it both disrupts and holds together different hypothetical theories.

I think the piece also conveys some of my previous concerns around modes of attention, a continuous retuning and recalibrating of what is heard and where one is positioned in relation to the signal or the noise (or what is understood as which). The idea of acoustic moiré – a morphing non-hierarchical, almost untethered grid – resonates with my interest in a multiplicity of voices which align and interfere with each other, activating the spaces in between. This is the reason I am drawn to work with sound – already at a very basic level it is doing the work as a vibratory in-between, as inherently relational, unsettling boundaries.

In addition to the speaker ring, I wanted a visual marker to provide a distinct sense of oscillation, that you are entering a vibratory sound field, so between each speaker there is a VU metre driven by the sound. The needle trembles to echo the volatile, dynamic and ever-changing frequency fields, though what exactly is being measured remains uncertain (the metres are blank and have no numbers).

Aura Satz, ‘Vera Rubin’s Irrefutable Evidence’, 2019

Nearby hangs a photo of Vera Rubin (1928-2016). Rubin was an American astronomer who discovered the galaxy rotation problem, providing evidence of the existence of dark matter. In the photo she is seen looking through a spectrograph mounted on the end of the telescope, recording an image of the spectrum (colours) of a small section of a galaxy. It’s quite an obscure image, in that she is wearing a hooded coat, so hardly any parts of her face or body are identifiable. Like the series She Recalibrates mentioned earlier, the image is framed inside a Fresnel lens, generating a diffractive pattern emanating from the centre, the point between her eye and the eyepiece of the telescope. The viewer has to somehow tune into the image for it to surface in amidst all the diffractive interferences and light play. It’s not central to the main piece, but I wanted to include Rubin as I think of the artwork as a space for naming, reconfiguring the canon, putting an underacknowledged female scientist into the conversation.

RB: In your view, what are the lines that connect art and science?

AS: I don’t think I could ever provide a definitive answer. The part that interests me from my recent experiences is the way in which both science and art ask questions and destabilise our current understanding of the world. Both are a response to curiosity and uncertainty, and can give us some orientation towards the future. Recalibration is key, an openness to change and a resistance to standardization.

Aura Satz: ‘Listen, Recalibrate’, solo show installation view, Fridman Gallery (photo Adam Reich)

RB: What other projects are you currently working on?

AS: For some years now I have been working on a project entitled Preemptive Listening, which looks at emergency signals and siren sounds. I read the siren as a specific kind of sound, one that requires attention, and demands an action or response. Citizens respond to its call, demonstrating obedience to its authority – it is a sound that commands submission, deflection, dispersion. It attracts in order to dispel, unsettles and resettles. It demands localized attention, and is the sonic architect of social order. It is a sonic marker that structures urban spaces in an emergency, a marker between future danger and dangers past, projecting a trajectory and expelling obstacles along the way. As the primary vocalization of the state, it articulates our relationship to power and civil order. All of which makes it fascinating, complex and in dire need of a re-wiring. My invitation is to pry it apart and recompose the siren, to think of it as a sound signal that requires recalibration. I am attempting to reimagine the siren sound: how can we open and destabilize this overly codified, prescriptive and stable semantic sound by taking a compositional approach, remapping new readings onto new sounds, how can we unlearn the existing code, find ways to listen differently, resist the hypervigilant, predetermined, automated call to obedience and set the intention to be curious, open, receptive, imaginative. If one remaps the sound, explores the possibility of different emotional registers, one can in turn generate distinct affective responses, more varied strategies for crisis management, and attend to a spectrum of different voices in need of our attention. And in our multiple modes of response, we might in turn enact an altered relationships to power.


[2]  Simulations performed at the University of Goettingen by Mr Jan Veltmaat, Dr Bodo Schwabe, and Prof Jens Niemeyer.


All images copyright and courtesy of Aura Satz


The post Voices appeared first on Interalia Magazine.

On the Surface

Richard Bright: Can we begin by you saying something about your background?

Rachel Pimm: I have a pretty straightforward background in Fine Art. I studied an undergraduate Fine Art degree at Central Saint Martins in a discipline called 4D which was developed from a blend of Critical Fine Art practice, film studies and then performative and video practice- all the extras to painting and sculpture. Then I started a project space called Auto Italia, which is still going, and went on to a postgraduate MFA programme at Goldsmiths. Those initial feelers into curating, which also included a curatorial internship at the ICA and a short stint after working in the department, have now morphed into more of a collaborative practice, where I invite people to do projects with me.

I wasn’t born in the UK though, my family are white Rhodesian and I came here from Harare, Zimbabwe in 1986- shortly after independence from Britain. This perhaps affects my interests in ways I haven’t yet unpacked, but It certainly gives me plenty to work on and address in terms of my own relationship to the world as a European settler thinking about land management and colonial histories.

Lori E Allen: My background is in social science with a Bachelors in Anthropology, Classical Studies, and Ancient Latin from New York University and a Masters in Archaeology from University College London. I never trained formally in fine art or music but when living in New York began a very low key experimental type of art practice around media archaeology. This began as a method of chopping up broad-casted media in real time to extract concurrent narratives across television networks, and took the form of a weekly public access television series. I then expanded that focus to include field recordings and began focusing more on sound and sound scape than image. My practice is still generally very low key in that I while I do make solo work it’s mostly for my own amusement, and I prefer a collaborative approach in creative work.

RP: when Lori and I work together we are good at thinking about larger scales than I do on my own- humans, animals, time, place. Lori is very technical and I do admin 😉 I’m only half joking. We have made performance together since 2015. You can listen to worming out of shit performed at the Chisenhale Gallery in 2015 here and Disintegration, performed at the Whitechapel Gallery earlier this year, here.

Lori E Allen and Rachel Pimm: Disintegration, Whitechapel Gallery, 2019

Lori E Allen and Rachel Pimm: worming out of shit, 2015, performed at CCA Glasgow, 2016

Lori E Allen and Rachel Pimm: Disintegration, Whitechapel Gallery, 2019

RB: Have there been any particular influences to your art practice?

RP: For a short while I did a full time office job at the Ideal Home Show, designing and specifying the model home village at the show – then building show houses inside Earl’s Court. For me, not only is this display format just as interesting historically as gallery exhibition, its lineage can be traced via British Colonial histories to the Crystal Palace, botanical gardens, raw materials, the industrial revolution and housing after the Garden City movement- really rich (and violent) contexts for the relationship between stuff we take from the ground and the systems of engineering and capitalism that surround its movement and processing.

I’m also influenced by Natural History. I find old books and go to libraries a lot – the Geological Society, Linnean Society, Bournemouth Natural Science Society library, the Teri Institute in New Delhi, and then gardens and greenhouses, physics evening classes, kids science kits, conversations and study days with friends, and strolling around, taking photos of infrastructure space, and ways in which ‘Nature’ is being put to work. I learn a lot from living with houseplants about care, and time and growing.

LEA: For me it’s probably studying archaeology that has influenced me most. I like thinking about and witnessing the ways people, myself included, interact with and build relationships with inanimate objects – of which I would also class mass media. There is so much story-telling in the scars, rips, wear and tear of a thing. Yet the thing is silent while retaining a record of events it’s undergone.  Conversely, mass media is not silent. I think the pull from the mute objects to the noise of constructed narratives led me to think more about noise and silence in internal dialogue, where it comes from, what records it holds  – and I suppose focusing on broad-casted media, especially the way it is told/digested/re-told/re-digested is a way of getting at/excavating the noise and silence of objects embedded in narrative rather than the earth.

RB: What is the underlying focus of your work?

RP: I suppose what things are made of, how things work, and how they change the environment are my primary focuses. I find the idea of the surface of something especially interesting because this is the place where the change visibly happens. Also because everything material comes from the surface of the earth. The theory conversations around materialism where they combine with climate activist, feminist, queer, crip or anti-racist work are part of what engages me in this and the desire to understand the environment through structures other than Cartesian western patriarchal power.

LEA: I’m really interested in mass behaviours, ritual, and taboo how they generate, what they come from, how enduring they are, and what influences rate of change. Rachel and my underlying interests are really different in this way, but her focus on material and the surface of the earth I have found to be a really good way round again to approach such questions. It is literally from the ground up and makes human society kind of less important – which is a relief.

RP: and Lori helps me think of ways to create narratives around images and sound. She’s a good storyteller and while I’ll Wikipedia something or buy something, she’ll just get on and make a test. Lori is very unafraid of trying something even if it sounds hard or stupid, because doing it mechanically almost always works something out.

Rachel Pimm photographing landscape at Dallol in the Afar Triangle, 2019

RB: In 2018 you were involved in the project ‘Experiments in Art & Science’, a collaboration between Kettle’s Yard and The Gurdon Institute in Cambridge. Can you say something about your work in this?

RP: I had a period of around 9 months where I was supported by a stipend and was given fantastic access to the genetics labs run by Eric Miska at the Gurdon Institute who had approached the art partners to be able to make a project with no fixed outcome, refreshingly. I was matched with some scientists whose research I could engage with and rather than being a project, it became more of a change of practice and an opportunity to learn and reflect. I read a lot, and used much of my production time and fee to collate a lovely library of rare and specific books on morphology, geology, biology, and also go on field trips to archives to see the lineage of the research into morphology- through fish and worms. I learnt some amazing things- like that transgenerational traumas are chemical in cells, that from suboptimal exposure to environments that suppress life (and those survived by ancestors) sit in a protein you can dye and actually see under the microscope in the RNi. That’s how life forms become resilient. That is mind blowing. I also now understand that ALL patterns of growth and shapes in nature are connected in a spectrum, and that this is due to chemistry and physics at a cellular level, also completely amazing and an overhaul of my thought process.

Rachel Pimm and Emilia Santos at the Gurdon Institute Cichlid Aquarium, production Morpho Chemical, 2018 (Experiments in Art and Science  residency, Cambridge University and Kettles Yard)

Rachel Pimm at St Andrews University Special Collections library, production for Morpho Chemical, 2018-19 (Experiments in Art and Science residency, Cambridge University and Kettles Yard)

Rachel Pimm at Giants Causeway, Northern Ireland, production for Morpho Chemical, 2018-19 (Experiments in Art and Science  residency, Cambridge University and Kettles Yard)

I’ve since also been lucky enough to do more labwork, including some photomicroscopy, with Radar, in Loughborough at the Chemical Engineering department.

SEM microscope samples from Afar triangle fieldwork, production for S, Lori E Allen and Rachel Pimm, 2019 (Radar residency, Loughborough University)

RB: You are taking part in the Science Gallery, London exhibition ‘Dark Matter: 95% of the Universe is missing’. Can you say something about your involvement in this?

RP: I was approached to work on a set of new elements in the Periodic Table- which is one of my catalogues of collaborations, and I approached Lori E Allen to come on a very amazing field trip to the Afar triangle triple rift junction in Ethiopia and make work together in response to Sulfur. This has since turned into a project about alchemy- we’ll be doing a performance at a late event, and then showing S and Hg at an event on August 7th. I recorded mainly images and Lori recorded mainly sound but we will fully collaborate on the works in the events.

LEA: I was invited by Rachel Pimm to take part in this project, which follows from a previous work we did with the material from Ethiopia, linked above :)!

S, Lori E Allen and Rachel Pimm, 2019 (Dallol)

S, Lori E Allen and Rachel Pimm, 2019 (Lava fields at Erta Ale crater)

RB: In terms of the viewer, what are you trying to communicate in this exhibition?

RP: Art doesn’t have to communicate. That’s one of the great privileges about making it.

LEA: I agree with Rachel’s comment above and would add that in my experience it’s very hard to control that aspect in the first place as well as limiting the opportunity of a work to communicate how it will or won’t with anyone seeking to engage with it.

RP: Maybe you can learn and control some of the tools at your disposal so you can take a didactic political position where needed or get people thinking on a particular track, like when we talk about the use of vocal samples.

LEA: Hmm. yeah. But even so what you want to communicate may not translate the way you expect it to, and that’s kind of the best part about a work becoming organic/non static

RP: But aside from this, we want to show people the images and sounds we experienced when we went off to investigate sulfur as an element important for life forms. We have looked at a lot of Alchemy practices and cultural references of burning hell holes (Sodom and Gomorroh! Volcano Deities!) and tried to incorporate those alongside harder sciences like  geology and chemistry. We think it will be messier than the show itself, perhaps more true to the way matter operates.

RB: In your view, what are the lines that connect art and science?

RP: Both seem to be about trial and error, failure, learning and experiments. Art can change form part way through though, methodologies can be really sloppy compared to the science. In both making and in publishing- peer review matters to both, but I find science a bit of a straight-jacket and would want to work on more things at once, not finish things, do things incorrectly or whatever. I have a lot of respect for the focus of scientists. Artists working with scientists have the pleasure of finding out facts and then ignoring them entirely if they want. I imagine scientists like the lateral thinking opportunity to flex their ideas. Sometimes scientists actually want an illustrator, which is a misunderstanding. Illustration is a whole other, also very interesting thing. But that’s not what artists do well.

LEA: Both are linked by inquiry of the observed or experienced and function in similar ways in the quest for understanding a thing, a relationship, a process, a being. While the scientific method is robust and disciplined this can have limitations. Similarly, so can art.

Lori E Allen making contact microphone and hydroponic sound recordings on a field trip in the Afar triangle, 2019

Rachel Pimm looking at Lava Rock samples, Erta Ale crater, Afar triangle, 2019

Geological samples and AV equipment on a field trip in the Afar triangle Lori E Allen and Rachel Pimm, 2019

RB: What other projects are you currently working on?

RP: I have a performance coming up making some music using cash crops and plants that are domesticated at the Serpentine Gallery and am working on a menu of earth-based food for an event in Lincoln at Mansions of the Future around the practice of Geophagy.

LEA: I have vinyl coming out soon with my band from a piece we did for the Tate Modern a couple of years ago. I am working with another artist producing soundscape compositions for a performance work investigating medical imaging, for which I will also produce the soundtrack for a short film version of the work. Perhaps what I’m currently most excited about is a children’s book.

RP: We have made a start working on a video project about Salt- its geology, history, production, trade and processing. That was an unexpectedly big part of what we saw in the Afar triangle and there are a lot of leads to follow. It was bigger than the elements so it has become its own project.

Lori E Allen making sound recordings on a field trip at Lake Asale in the Afar triangle, 2019

Rachel Pimm sampling lake salt crystals during a field trip at Lake Asale in the Afar triangle, 2019


All images copyright and courtesy of Rachel Pimm and Lori E Allen


The post On the Surface appeared first on Interalia Magazine.

There’s more to this than meets the eye

Yu-Chen Wang at CCCB 2019 Arts at CERN

Richard Bright: Can we begin by you saying something about your background?

Yu-Chen Wang: I’m originally from Taiwan and I’ve lived and worked in the UK for quite some time… actually next week, it would be 19 years exactly. I was trained as a designer, specialising in visual communication. When I moved to London, by chance I went on to study art at Goldsmiths and I’ve worked as a practicing artist ever since.

RB: Have there been any particular influences to your art practice?

Y-CW: One of the major influences is my life experience in and between Taiwan and the UK. For a long time, I try to understand Britain/Britishness – I treat it almost like an ongoing research project. I have travelled extensively and actively undertaken artist-in-residence in different regions as a way to explore local histories and meeting new people. In a way, I’m taking the opportunity to learn more about the country and trying to make up what I don’t know or I haven’t had a chance to experience previously.

Funny enough, I start to think there’s an urge for me to do similar things in Taiwan. Not only I feel like there’s a lot I need to catch up, but also to discover something completely different – because I’ve been away for so long, I would approach things quite differently now. Also with Taiwan’s colonial past and the dictatorship, only in recent years a lot of untold histories begin to merge and being talked about. It’s like getting to know Taiwan in a new way.

Quantum In Search of the Invisible catalogue, 2019 CCCB

RB: What is the underlying focus of your work?

Y-CW: I see my work very much focuses on research and process, experience and relationship. There’s a particular way for developing my work, which often involves a period of time spent in a specific place. I would then undertake extensive research the contextual histories and engage with a group of locally-based people or specialists who would assist my research. Two major components I’d like to explore generally: the archives and archaeology, which form the main source of inspiration for developing my work.

I have spent a lot of time in various archives going through documents, photos and footage. Often I find myself working like a historian trying to interpret documentations – it’s a form of storytelling. I am fascinated by the archival materials, as they are of the past, from another period of time, not now not my time, someone else’s memory… often in this context, the use of technology for documentation becomes particularly interesting.

Sometimes I think I work like an archaeologist exploring various heritage sites (historic landmarks, abandoned places, ruins or sites for regeneration projects…) and objects (remains in historic sites, artifacts in the museum collections, at abandoned places or junk yards…). Not necessary taking part in physical digging or excavations, but I would look for tangible evidence to further expand the missing narratives from interpreting archives.

Often I would engage with a group of people helping with my research. They’re the catalysts for me to connect to places and to unfold stories. It is important to form a relationship with the group; through repeated meetings, a lot of rich materials would naturally come out, they’re original and potentially very inspirational. I guess that’s a very important part of my practice – knowledge exchange. Through this exchange, a new network is formed for connecting people and places and telling (new) stories – that’s how I make work.

Yu-Chen Wang: There’s more to this than meets the eye, 2019 (detail) pencil on paper 2100 x 1310mm

RB: Drawing is central to your practice. How would you define your approach to drawing and its process?

Y-CW: For me, making drawing is very much about the process, various acts of accumulating, rendering, processing and reflecting. Before I make drawings, I collect a lot of images related to whatever project I’m working on, often from the archives, sometimes from my own camera. I don’t make sketches or preparatory drawings – I would just draw as if the pencil lines organically growing and spraying out on the paper. I make drawings on the table, often some part of the paper is rolled up due to the limited studio space and the size of my table. In a way it’s problematic as I’m very close to the paper and I don’t get a chance to see the entire drawing until I finish the work or when the drawing is being exhibited in the gallery. It’s a deliberate decision, as I try to condition the way I work and in the hope of opening up something that is more intuitive and less controlled.

Yu-Chen Wang: We aren’t able to prove that just yet, but we know it’s out there? 2018-19 installation view at CCCB.

Yu-Chen Wang: We aren’t able to prove that just yet, but we know it’s out there? 2018-19 installation view at CCCB.

RB: Can you say something about your work We aren’t able to prove that just yet, but we know it’s out there?

Y-CW: As part of Collide International Awards (2016-18), a partnership between Arts at CERN and FACT, the piece is a direct response to my visit to CERN, conversations I had with physicists there and also the ones in Liverpool.

Inspired by 60’s Bubble Chamber experiment, my work develops a poetic narrative of the histories of recent science: establishing parallel lines between my drawing of apparatus, meetings with physicists and scientific documents found in the archives. Comprising multilayered imageries and voices, We aren’t able to prove that just yet… is a collage of history and fiction, documentation and interpretation.

Over the 2-year EU touring, the work is evolving and has been developed into multiple versions with different languages and spatial arrangements for each venue. The piece have been shown at FACT, Liverpool last year and is currently on show at CCCB, Barcelona and will later travel to iMAL, Brussels and le lieu unique, Nantes.

Yu-Chen Wang: We aren’t able to prove that just yet, but we know it’s out there? 2018-19 installation view at FACT

RB: You’re taking part in the Science Gallery, London exhibition ‘Dark Matter: 95% of the Universe is missing’. Can you say something about your involvement in this?

Y-CW: The experience of developing CERN-inspired project worked as a foundation for creating this new commission. I was very excited about further expanding what I was researching from quantum to cosmic, from particle physics to astrophysics, a more multi-disciplinary approach.

Yu-Chen Wang: There’s more to this than meets the eye, 2019 (still)

Yu-Chen Wang: There’s more to this than meets the eye, 2019

I also took part in a panel discussion together with the exhibition adviser and physicist Malcolm Fairbairn (who is also one of the scientists I have interviewed), philosopher Eleanor Knox, chaired by science presenter Helen Arney (also my collaborator, who has delivered the voice over for my piece). It was brilliant that the speakers are from very different fields and to have conversation about scientific truth and the limitation of human knowledge. When we don’t know how to answer the question, turning ourselves to thinking philosophical seems necessary and perhaps helpful.

RB: In terms of the viewer, what are you trying to communicate in this exhibition?

Y-CW: I wrote the script using a first person’s voice as a reflection of my journey of exploring science – visiting labs, speaking to various physicists, investing scientific images and documentations. The voiceover is delivered by Helen Arney, whose performance was brilliant and humorous, absolutely animates my inner thoughts. Using wireless headphones with music and surround sound effect designed by Capitol K, I’m trying to create an intimate experience of one-to-one moment between the audience and my work. This way of storytelling also shows my approach to science: I almost become a researcher myself adapting certain scientific methods, collecting, analysing and trying to build new experiments and run tests in order to understand more and to make sense of everything.

Yu-Chen Wang: There’s more to this than meets the eye, 2019 (still)

RB: In your view, what are the lines that connect art and science?

Y-CW: Both fields are about asking questions, exploring some unknown territories and looking for something new. These are places where no one has been to or no one knows how to get there. They definitely involve certain level of risk-taking and overcoming endless failures, and most importantly they need to be able to communicate, not just within the community, but to the general public.

In the case of art and physics, it’s interesting that both are trying to make the invisible visible and trying to see differently.

Yu-Chen Wang: There’s more to this than meets the eye, 2019 (still)

RB: What other projects are you currently working on?

Y-CW: I’m continuing to develop the work for Collide International Awards’ touring programme. For the exhibition in Brussels, this evolving piece will have a new life and will be presented in response to the gallery space and local audiences.

I’m working on a couple of projects inspired by the industrial heritage, such as canals in Birmingham and railway in Doncaster. I will work with local community to produce new work in response to the future urban regeneration. Another project in Taipei I will explore the relationship between art and the increasing information-driven technology and the influences on our day to day life.


All images copyright and courtesy of Yu-Chen Wang

The post There’s more to this than meets the eye appeared first on Interalia Magazine.

Imagination in Education

Richard Bright: What do you understand by the word ‘Imagination’?

Sacha, Duchess of Abercorn: Imagination has often been mistrusted in the realm of education as having something more to do with fantasy and the wasting of time, thus, I believe, children in this 21st century are being denied their natural growth path to full potential. The fact is that we live in 2 realities at one and the same time. Our outer reality being linear and time-bound, has more to do with the intellect and the learning of facts and figures and the analytic, whereas our inner reality goes by way of the spiral, is time-less and has the function of making connections and has the ability to synthesise. Imagination is a way of knowing and of being all at the same time. It is the world of And/And rather than Either/Or. It speaks to us by way of images and the symbolic rather than the literal. As a child we are reared on it by way of story-telling and fairy tales and as we grow up we experience it by way of Myth and Legend. It speaks to us also by way of our dreams and day dreams and if we can stay close to the images from within ourselves we can infuse our outer realities with enthusiasm and inspiration bringing the heart back into all that we do. Jung wrote that ‘the imagination is author of all human creation, of all that is greatest in our lives, and that play is its dynamic principle’. It is of vital importance, therefore, that the ‘child’ within us all is given the space to play and find its voice and this can only happen when we ‘still the mind’ and approach the interface between our heads and our hearts. Imagination is ‘seeing with the mind’s eye’ and how helpful it can be at moments to be able ‘to step into someone else’s shoes’ and to imagine how it feels from a different point of view. This is a most vital aspect in social dynamics at this time when the compassion of the heart might solve some otherwise intractable and potentially destructive global problems.

RB: The Pushkin Trust has recently celebrated its 25th birthday, which you are the founder of. What prompted you to do this?

SA: The Pushkin Prizes, as it was called at its inception, came into being in 1987 during the height of the ‘Troubles’ in N Ireland. My daughter, Sophie, had been having nightmares for some time of our home being ‘invaded’ and I realised that she and thousands of other  children were possibly breathing a form of  noxious toxin that suffused the air at that time – that of fear and hatred, of  grief and loss and of huge distrust between the Catholic and Protestant communities. I was at a loss as to what to do to help her until I attended a very special event in England to commemorate the life of my Russian ancestor, the poet, Alexander Pushkin. It was then that I realised how great Art lifts us all beyond the tribal and all that separates us and moves us on to Universal ground, where we share both the light and the dark of life, the joys and the sorrows. It is the ground where we meet as true human beings and where we begin to find and then express our ‘voice’ by more creative means.

RB: Can you say something about The Pushkin’s Schools Programme and why you feel it’s important to be cross-curricular?

SA: The Western Education and Library Board in Omagh, Co. Tyrone, helped us from the beginning to find 8 primary schools – 4 from the Protestant tradition and 4 from the Catholic tradition who would like to take part in a pilot scheme in the form of a creative writing competition. The schools would also be chosen from both sides of the border – 4 from Co Tyrone in Northern Ireland and 4 from Co Donegal in the Republic of Ireland. The schools would then be invited to write short stories or poems on a theme chosen by the Pushkin project. The judges who helped us in the early days were looking for spontaneity, a sense of presence and ‘voice’ in the writing rather than perfect grammar and spelling. The themes we chose  to write about were drawn specifically from one of the 4 elements – Earth,  Air, Fire or  Water –  such as The Tree of Life,  Blowin’ in the Wind,  The Fire Within,  Going with the Flow etc  In this way the theme connected to every subject in the curriculum  and could be  explored and developed in a variety of ways. The Pushkin thematic approach is based on a holistic approach which values the uniqueness of each learner. It also values the contribution made by all subjects in school to the creation of well-rounded, creative and successful students. By placing the environment by way of the 4 elements, at the centre of its thematic approach the Pushkin Trust hopes to instil in children and adults a love and sense of deep connection  firstly to ourselves, and then to the  world in which we live and indeed share with one another. By focussing on a connected and innovative curriculum where learners explore and question, where they create and appreciate, the work of the Trust aims to encourage all learners to develop their fullest potential. The Pushkin logo of the 4 petalled flower is a symbol of the wholeness that we aspire to in our programmes with the 4 functions of Body, Mind, Emotions and Intuition each connecting to one of the 4 elements of Earth, Air, Water and Fire centred on the Creative Spirit at its core.

RB: The programme uses creative writing as its central core, together with other creative art forms. Would science ever be considered to be included in the programme?

SA: The Pushkin Trust works primarily with children aged 9 – 11 years. For that reason the writing of short stories and poems, and now of working in many other art forms is the most appropriate way for them to access their creative spirit. However, just as we are convinced that it’s out of such an integrating approach that children can develop a larger sense of themselves as creative human beings, so we also believe that it can be the source of imaginative activity in all fields of endeavour, including the scientific. Our aim with Pushkin is to develop in children a confident degree of trust in that kind of intuitive creativity which is the source of good work in the sciences as well as in the arts.  The closest we get to scientific work is in our way of studying the environment, which stimulates the powers of observation through the senses and encourages a holistic and imaginative rather than simply analytic sense of the natural world. Science as it is conventionally taught relies on the rational analytic intellect, whereas our Pushkin mode of education tries to bring that faculty into creative relation with the other vitally important human functions of feeling, intuition and the senses.

RB: The Programme concentrates on the environment as an important source of inspiration. Why is this?

SA: The Pushkin Prizes, was conceived, as I have mentioned before, as a creative writing project to enable children in primary school to find their ‘voice’ by way of writing a short story or poem. It became apparent early on in the project that some children found it quite hard to open up to their unique ‘voice’ and connect to the realm of inspiration. It seemed that the most accessible way for a child or indeed a teacher to make contact with the source of their own being would be to take them into the natural world with the help of environmentalists to experience the world around them by way of their senses. After all, so many great artists have drawn upon this universal realm for their most inspired work in order to tap into the creative spirit at its source. We noticed how positively children from both urban and rural back grounds responded to having time in nature – time to regain their senses. It is as if children are in deep need of being re- connected to their ‘birthright’ – to their creative core.

RB: Pushkin’s work has become synonymous with creativity, inspiration and expression of the ‘Voice’. You have talked about encouraging both children and teachers to find their ‘Voice’. What do you mean by this?

SA: The genesis of the Pushkin work began with the ‘voice’ of a child. Realising the fear that was being voiced in my own child in the form of nightmares at that time I searched for a way to enable that fear to be channelled by some means into a more creative expression. I was fully aware that if such negative energy is left to fester it can become self-destructive and equally if it lashes out in self-defence it can destroy the world around it. However, all feelings whether they be positive or negative if they can be contained in some art form then become a kind of gift to life. Inspired by my ancestor, Alexander Pushkin, I realised that the power of the creative spirit, latent within us all, can transform the world we live in by giving a sense of meaning and purpose to ourselves as individuals. We discovered in the early stages of the creative writing programme that if the child in the class-room was to be able to express his or her ‘voice’ fully then the teacher needed to be alongside equally facing the ‘blank page’. We then began an annual November conference for all the teachers who would be taking the Pushkin programme into their class-rooms in the following January. In this way they would experience environmental and arts workshops based on the theme for the year ahead and re-discover the ‘child’ within themselves once more!  The response from teachers to this support enabling them to tap once more into their own creative spirit has been most rewarding. From this has grown our most current programme ‘Inspiring Educators’ which deepens the personal development of a teacher ad helps them to re-discover their own creative voice.

RB: Not only children, but many teachers have described the ‘Pushkin experience’ as life changing, releasing ‘hidden treasures’ that may have otherwise have lain dormant in their normal school lives. Do you think the current systems of education stifle the release of these ‘hidden treasures’?

SA: The ‘Pushkin experience’ has been described by both children and teachers as life changing, releasing  ‘hidden treasures’  that may otherwise have lain dormant in their school lives. Perhaps the most unfortunate aspect of our current education system is its lop-sided nature. There are many positive aspects to learning how to read and write and knowing how to add and subtract and to  getting our sums right but that is only a part of what education is about. The word in Latin educare actually means to draw out and unfortunately our system seems to have failed massively in knowing how to go about this. We cannot have an exam for testing ‘emotional intelligence’ – feelings cannot be marked right or wrong.  Feelings simply ‘are’. So until our education system discovers how to embrace the non-rational side of a child’s nature we will continue to produce youngsters who are not able to cope with the world around them. Our inner landscape is full of hidden treasures – all qualities of the heart and soul. Until we find a way to uncover these treasures our outer landscape will remain severely impoverished.

RB: Educators from all over Ireland have paid tribute to the ability of The Pushkin Trust to inspire. Teachers and pupils alike have described how their contact with this movement has helped them to unlock in them a creative potential which they never knew existed.  When you founded it, did you foresee the Pushkin movement being so influential?

SA: It is most heartening that the Pushkin Trust has been acclaimed by educators from all parts of Ireland to have inspired children and teachers over these past 25 years. I never, for one moment, realised how strong the growth would become of the ‘seed of an idea’ that I had then. But I now realise that the creative spirit, if given the open ground to grow in, will put roots down and  stretch upwards to the light, branching out into new programmes and projects until it flowers and bears fruit. It has been a most rewarding process to have been involved with and we have simply acted as kind of ‘gardeners’ of our inner landscape. To have witnessed the ‘voice’ of so many children and teachers in so many creative ways has been a most humbling experience.

RB: The Pushkin Trust has grown into an all-Ireland educational programme for the creative and personal growth of the individual. What is your vision for its future?

SA: The Pushkin Trust has grown into an all-Ireland educational programme focussed on the creative potential in both the child and the teacher.  I would now like to see this work deeply embedded in and embraced by our education systems.  I would like to see every child in every classroom in primary schools and on through secondary and tertiary level claiming their ‘birthright’ to become whole human beings, fully alive.

The time is now.



The post Imagination in Education appeared first on Interalia Magazine.

Creativity, Imagination and Philosophy

Richard Bright: Can we begin by you saying something about your background?

Dustin Stokes: I’m a philosopher of mind and cognitive science. My research concerns three main (sometimes related) areas: imagination, sensory perception (and how it relates to cognition), and creativity. I tend to approach these topics in a broadly empirical manner, and collaborate with scientists in relevant fields. I have an additional interest in applying theories and methods from the philosophy and science of the mind to questions about art. I am trained in analytic philosophy and have typically worked and taught in philosophy departments. My academic home is the Department of Philosophy at the University of Utah, and I have previously researched and taught at the Universities of Sussex and Toronto, in both philosophy and cognitive science.

RB: Have there been any particular influences to your philosophical practice?

DS: Certainly my teachers. As an undergraduate, Bill Brown and Jack Knight. And as a graduate student, Tamar Szabo Gendler, Dominic McIver Lopes, and Mohan Matthen. They each, in their own ways, provided invaluable support and encouragement. And each was sensitive and receptive enough to recognize where my strengths were (and weren’t!), helping me to cultivate those strengths and, in turn to be confident about doing philosophy. This last bit is really important: I think philosophy can be extremely intimidating (it certainly was for me), and I don’t think I would have succeeded without the confidence that these teachers instilled in me. I should add that my schooling involved a lot of different philosophical approaches: history of ideas, analytic metaphysics and epistemology, empirically informed philosophy.

The interdisciplinary experiences that I’ve been lucky to have, and to still have, shaped and continue to shape how I think about philosophical analysis and, generally, theory and science. There are a number of ways that this is true, but here are a couple that come quickly to mind. Engaging with researchers from substantially different fields—for example, the roboticists, Alife researchers and computational neuroscientists at the Informatics department at the University of Sussex, where I had my first postdoc—encourages you, well, forces you really, to reflect carefully on the language and methodologies you use, and the underlying assumptions that you make. All of this has shaped how I think about expressing ideas. Second, and related, these experiences have forced me to be more open minded about the goals and values of philosophy. Put probably too simply: there isn’t just one way, or one good way, to approach a philosophical problem.

RB: What do we imagine we are talking about when we speak of the imagination? Or, to put it another way, can we imagine the imagination?

DS: I think in our ordinary terms, we use ‘imagine’ and its cognates to refer to an array of disparate phenomena. For instance, we sometimes use the term to make clear that we merely thought or believed something, but now realize that we were mistaken, as we do when we say that we “just imagined it”. In a different spirit, we sometimes describe persons as being “imaginative” to express that they are creative or skilled at originating ideas. Sometimes we implore others to imagine so as to encourage empathy; I might say to you, “Imagine if I had done that to you”. And finally, and perhaps most obviously, we think of the imagination in terms of pretence, make-believe, imagery and mental exploration of non-actual, future and past, and merely fictional scenarios.

Now with the exception of perhaps the first imagination-as-mistake sense, all of these ordinary senses of imagination are relatively well theorized in philosophy and psychology: imagination in creative thought, imagination and its importance to understanding other minds, imagination and possibility, fiction, and, most simply, playfully indulging what is not here or now.

Whether there is a singular phenomenon that unifies these roles and mental activities is, to my mind, an open question. But even supposing that the answer to that question is in some sense negative, we can identify some common characteristics that seem to typify each of these cases. Imagination is a mental activity—a way of mentally representing—that is often under immediate voluntary control. (By contrast, you cannot immediately control what you believe at any moment, even if you can steer yourself, so to speak, towards this or that belief. As it is sometimes put, belief is truth-functional, imagination is not.) Second, imagination typically concerns objects and events that are not present to the subject doing the imagining. Put another way, imagining is not, as a mental activity, bound to truth or reality. And finally, and more traditionally, imagination often involves mental images of some sort, visual, auditory, and perhaps other sensory modalities.

RB: Can you give some historical examples of how imagination has been explored philosophically?

DS: I think we first might distinguish examples where imagination is a topic of inquiry, from cases where it is used as part of philosophical method.

Of the second, perhaps with greater or lesser emphasis, imagination has been part of the philosopher’s toolkit from the beginning: imagining hypotheses, possibilities, examples and illustrations. Imagination sometimes occupies an explicit and operative place in argumentation. One clear example is the use of conceivability/possibility principles in the early modern period. For instance, a number of Descartes’ arguments for substance dualism hinge around what he can conceive and the implication this has for what’s metaphysically possible: he claims that he can coherently conceive of his mind without his body, and so it must be possible to have a bodiless mind. Therefore, as a matter of metaphysics, the mind must be substantially distinct from the body. But it wasn’t just Descartes or so-called rationalists that appealed to imagination in this way: empiricists did the same. For example, in some places in the Essay, Locke takes the inconceivability of free-floating properties like colour, shape, motion, and so on to imply that (perhaps) properties without a property bearer are impossible and, therefore, maybe there is (or must be) some underlying substance or “substratum” that bears those properties. And maybe somewhere in between imagination as method and imagination as topic of inquiry, Hume regularly appeals to imagination to explain (but not justify) how we form ideas and beliefs about things for which (he thinks) we lack appropriate evidence, for example, ideas of the self, of substance, and of causes.

Now imagination is currently “in fashion” as a stand-alone topic, but traditionally it has not been a dominant subject matter. One notable exception is Sartre, who wrote two books on (broadly) the imagination. A lot of Sartre’s analysis readily comports, I think, with contemporary discussions of the imagination (and somewhat ironically, since Sartre is not much discussed in contemporary analytic philosophy).

First, Sartre understood imagination to be intentional, in the sense of having aboutness, or being representational. He also tended to have in mind imagery, since he described imaginative episodes as observational. Moreover, when imaging an event, say Pierre in the café (it’s always Pierre in the café), we “see” right through the image to the thing imaged: it is as if we see Pierre, but we do not see our image of Pierre. Imagination is, in more contemporary terms, transparent. But at the same time for Sartre, by contrast to perception, images are somehow tagged as concerning objects or events that are not present. So, imagination is really quasi-observational, since it lacks the feeling of presence that visual or other perceptual experiences enjoy. Finally, he understood our capacity for imagination to be voluntary but also to involve some degree of spontaneity: we construct the objects-as-imaged, but this often happens rapidly and without feeling of effort.

It is this combination of features that, for Sartre, give imagination its creative power. One can actively imagine, where one is thereby responsible for the objects-as-imaged, and without commitment to their presence in one’s environment. And because one can do this, one therefore makes and is responsible for the contents of one’s imaginings (by contrast to the contents of one’s perceptions or beliefs). Imagining is, for Sartre, a richly creative activity, and this is no trivial part of his broader philosophy. The playfulness and freedom enjoyed by imagination is central to how we intend to change the world as we find it, and how we identify as selves. On Sartre’s view, freedom in the world—freedom of the will—consists importantly in our capacity for imagining the world to be ways other than the ways we find it, and then further imagining how we might act to change the world in those very ways. So it’s not an overstatement, I don’t think, to say that imagination and its creative potential are central to Sartre’s existentialism, since they are central to how we mould our existence (which, on the familiar slogan, precedes essence).

RB: Are there different varieties of imagination? Can you give some examples?

DS: Well, as I said earlier, I think this is a point of active debate, since it isn’t obvious that there is a singular phenomenon that falls under the term ‘imagination’. That said, in both traditional and contemporary research, philosophers have made some distinctions. Depending upon one’s views about *a* faculty of imagination, these might be distinctions between types of mental process or state (perhaps not all of them imagination), distinctions in types of imagination, or distinctions in the roles or uses that a single thing the imagination—can serve.

One distinction, acknowledged by both Kant and Sartre is between “productive” vs. “reproductive” imagination (or put in other terms, “creative” vs. “recreative” imagination). The terms already point to the sense of the distinction, but the basic idea is that we can sometimes use imagination to produce or create a thought that is, to some degree, novel. It could be something important like a scientific hypothesis or something banal, like an anxiety-inducing possibility (“maybe that noise in the attic is a gremlin”). But just as often, perhaps more often, we use imagination to reproduce ideas. These could be our own ideas (“there’s that noisy gremlin again”) or be reproductions of ideas of others, as we do when we follow a fictional narrative. Interestingly, Sartre takes the latter—engagement with fictions—to be not entirely re-productive, but importantly productive. He takes the narrative—say a novel—to be incomplete at the stage of the author’s production; although guided by the text, the reader must actively imagine so as to “fill out” the fictional world. The reader is thereby complicit in creating the fictional world, or the “irreal world” as Sartre puts it, and this has an interesting explanatory consequence, it explains why our experiences of fictions can be so powerful: we are actively responsible, on Sartre’s view, for creating that fiction.

Another distinction is between sensory imagination, or imagery, and non-imagistic imagination. Going back at least to Aristotle, mental imagery was the more commonly discussed notion. When we imagine, we form images before the “mind’s eye”. In contemporary discussions, philosophers distinguish this sensory imagination from something that need not or does not involve images, what they call “propositional imagination”. Although imagery has received more attention traditionally, there is certainly early precedent for propositional imagination. For example, Descartes maintained that one could form a mental image of a triangle, but not of a chiliagon (a 1000-sided figure). This is standardly taken to indicate that understanding doesn’t require imagery, since Descartes claimed to find his image-less idea of the chiliagon to be intelligible. But it also points to a kind of imagination: one can imagine that a figure has 1000 sides. This is propositional imagination.

Most recently, propositional imagination has dominated recent theorizing of the imagination, with the consequence that imagery has been relatively neglected by philosophers. My view is that this inversion of tradition is unfortunate, and I hope that more and more philosophers will return attention to sensory imagination.

RB: How do our imaginative capacities differ from other mental capacities?

DS: Well, some of this has come out in what we have already discussed, but here are a few (hopefully not overly controversial) features of imagination, as contrasted with other mental processes. I think most take imagination to be disconnected from truth, reality, and action. So, I can imagine propositions that I know to be merely fictional or false, but I typically cannot (willingly) believe those same propositions. As I’ve put it in some of my work, imagination is non truth-bound in a way that is different from belief, memory, and knowledge. It is also different from sensory perception with respect to the here-and-now. We can grant that vision sometimes suffers illusions and hallucinations (some of them perhaps the mere imaginings of philosophers!), but it is typically responsive to the objects, features, and events that are present in one’s environment. Even if it sometimes misfires, this is certainly the function of vision. Imagination does not share this function: it can be about things that have little or nothing to do with one’s present reality. And indeed part of the fun, and the utility, of imagination consists in this freedom from reality. Finally, imagination is different from other states with respect to action. Unlike forming an intention to perform some action which will, assuming other conditions are in place, result in that action, imagining performing actions is not similarly bound to carrying out those actions.

All of this points to the playfulness of imagination. But, importantly, imagination is not all play and no work. It can result in emotional affect. It plays some non-negligible part in how we empathize with others. It plays a crucial role in a lot of our reasoning: we imagine what may happen if we make one choice instead of another, we form mental images to reason about spaces and bodily actions (“Will this sofa fit through the apartment door?”, “If I turn the handlebars at this angle then I bet I can make that tight switchback.”). It figures in determining whether our evidence is sufficient for certainty or knowledge. And so on.

My view is that it is this combination of playfulness and workfulness that makes imagination crucial, if not essential, to creative innovation and original thinking. The playfulness can get you novel ideas, since it allows you to “try out” thoughts and conceptual combinations unbound to truth and reality; it serves a role that I’ve called “cognitive manipulation”. The workfulness can enable you to determine which of those novel ideas are useful, relevant, or valuable. And all of this can, in the philosopher’s terms, be done agentially, largely under voluntary control.

RB: What role does the imagination have in scientific discovery and how does it fit with rational ways of making discoveries?

DS: I think we are going to talk about imagination and creativity in a moment, and think that is relevant to your question here, so I’ll say a few things now (further to my response to the last question) and more later.

Take it or leave it, but there is a traditional distinction in philosophy of science between “”the context of discovery” and “the context of justification”. The first concerns the scientist’s insight or novel hypothesis, perhaps it comes in a burst of original thinking or after a long period of laborious cognitive work. The second concerns how that hypothesis then gets analysed, scrutinized, tested, and so on. This is rather controversial territory, not least because the distinction essentially identified the context of justification—the “logic” of science—as the only appropriate subject matter for philosophy of science; and it took decades to overcome that theoretical consequence. An underlying assumption here, I think, is that the context of discovery is simply too unruly, unbound with respect to truth and reason, to be evaluated objectively. “Who knows how the scientist gets radically novel ideas!? That’s subject matter for psychology (or magic!) but not philosophy!” What’s right about this is that the generation of novel ideas or hypotheses requires mental processes that are not bound to truth or “objective reality”; it requires, as I said a bit ago, imagination. Imagination is non truth-bound, and playful, in a way that makes it ideal for novel discovery. Now, critics of this distinction and its disciplinary consequences rejected the assumption that the justification or “proof” of theories was a purely objective or logical matter; human psychology and sociology are undeniable factors in the context of justification, not just the context of discovery. An extension of this criticism is to acknowledge how imagination, a mental process not bound to objectivity with a big ‘O’, also figures in scientific reasoning, analysis, justification. Here are a couple ways I think this is true; both of them concern the use of imagination in scientific experimentation.

Philosophers employ thought experiments (sometimes for good, sometimes…not so good). But scientists use thought experiments too; they always have. And it should be obvious why: they often have to “dream up” some conceptual or technological innovation in order to resolve a current problem and, importantly, a problem apparently not resolvable by existing means. And this “dreaming up” involves imagination. It would be wrong to think, though, that this all occurs at an initial stage of discovery or a Eureka! moment. The imagined scenarios or propositions have to be put to the test, so to speak, to determine if they will contribute to the solution to the current problem. And this analysis will often involve imagination. A famous example is William Harvey’s reported method of discovering the human cardiovascular system. The problem was this: the existing anatomical model had it that there were two kinds of blood—one coming from the liver and distributed through the veins and the other coming from the heart and distributed through the arteries. And all of this blood was supposed to be regularly consumed by the human body. Harvey reasoned that this model was incompatible with empirical observation; for instance, it would predict that veins would be regularly dry (which appeared to be false given rapid blood loss upon incision) unless the liver created blood constantly and with inconceivable rapidity. Harvey began to imagine that blood flowed cyclically throughout the body. But this imagined possibility was not yet sufficient for a solution to the problem. To secure that, Harvey then had to construct a new anatomical model, including how the blood flowed from arteries to veins and then returned to the heart through its right ventricle. And he had to construct this new model—a new paradigm, if you like—in a way that was consistent with what else was known about the human body. This is a scientific innovation shot through with imagination at all of its stages.

Another way imagination figures in scientific discovery is technological. A naïve view of empirical science might assume that the technologies used are ready-made, so to speak, and the scientist must then just use them, and sometimes use them creatively. But a moment’s reflection will reveal otherwise: scientific technologies are as much a part of the invention of science as the theories they are used to test and support. The perceptual psychologist, for example, is regularly challenged to identify possible confounds to isolating the phenomenon she is interested in. Perhaps she wants to know if an observed behaviour is a result of vision, but not of the subject’s judgment or desires. So she must attempt to “control for”, as we say, the variables that might be possible confounds and, in the good cases, thereby get data just on the variable/s of interest. A great deal of imagination is required to do all of this successfully: one has to imagine what the possible confounds may be, one has to imagine methods for controlling for the relevant variables and then which ones may work better or worse. And one sometimes must imagine (and construct) a technology in order to serve those very methods. As I like to put it, then, being an experimentalist requires being a tinkerer, both at the stage of experimental construction and technological development. These innovations are themselves creative, are essential for creative scientific discovery, and the tinkering required often involves imagination.

RB: There is little that shapes the human experience as profoundly and pervasively as creativity. What is the relation between creativity and imagination?

DS: I certainly agree. I think it’s right that we simply wouldn’t be human, or what we think of as human, if we lacked the capacity for creative thought and behaviour. And I also think that we wouldn’t be human without the capacity for imagination. As should be clear from what I’ve said about imagination and scientific discovery, I think these two observations are importantly related. I think imagination is central to creativity, and that this is true whether we are talking about richly creative minds like Picasso or Einstein or Coltrane or whomever, or talking about more mundane instances of everyday creativity.

So a lot of my work on creativity has attempted to shift the emphasis from the former to the latter, from genius to what I call “minimal creativity”. I don’t think a Picasso or an Einstein is a good place to start, if we want to understand their innovations from a psychological or naturalistic perspective. Instead, we start with some features that are common to those instances of creativity and ones that many people might make: a clever solution to a hitch in a home improvement project, a new way to explain something familiar, a chess move that surprises both you and your opponent. What is common to all of these?

We can first acknowledge that creative things are valuable, but I don’t think value is informative as a condition on creativity (any more than I think utility is an informative defining condition of, say, a chair). To explain creativity, then, even at the most basic level, we have to say what features are necessary for some F to be creative. This will be incomplete…but I think there are at least two, and even just acknowledging the two can lead us in some interesting directions and make the topic of creativity tractable. First, creative Fs—an idea, an action, a product—are novel or new in some way. But we shouldn’t assume that they must be entirely new, or out of nowhere as we might say. Instead, they can be novel relative to a comparison class, and that comparison class could be the entirety of human ideas, or it could just be the set of ideas had by the thinker in question. Maggie Boden calls the first “historical creativity” and the second, “psychological creativity”. And she urges that an interest in creativity is not exclusive to the first. In fact, I think the point is even stronger: a philosophical or psychological interest in creativity should not centrally emphasize historical creativity, since here our interest is in what the agent does, or has to do, to make something new. And this could be a very individual, rather than a sociological, matter. Second, and related, we think of creative Fs, say a new hypothesis or an interesting performance, as being worthy of praise. Accordingly, they are thoughts and actions for which the agent is responsible (we don’t praise people for things out of their control). So, creativity, in addition to relative novelty, requires agency (in the philosopher’s sense).

This is an incomplete characterization of what I call “minimally creative thought” (or action). But even this minimal sense points to the importance of imagination. As I said above, the playfulness of imagination—its being unbound to truth or reality—allows us to think or act in ways not immediately responsive to our reality (or how we perceive that reality). It enables novelty. And because we can voluntarily control imagination, we can explore those novel ideas and their possible values. And, this is something we do, as agents. The upshot, I think, is that imagination is important for even mundane instances of creativity. And that, to come finally back to the question, is why imagination is so important to being human, and to experiencing the world as human.

RB: Can the imaginative capacity sometimes be a hindrance and restrictive? If so, can you give some examples where this might be the case?

DS: Well, imagination can itself be restricted (and therefore perhaps restrictive). Psychologists (and, following suit, some philosophers) are becoming more and more sensitive to individual differences in cognitive processes. One relevant example here is aphantasia, a condition where individuals have limited to no capacity for imagery. And more broadly, there is good evidence for individual differences in types of imagery. For instance, a lot more people report a capacity for visual imagery than, say, olfactory imagery. Whether these conditions restrict individuals is something of an open question. Persons with aphantasia can perform many of the same cognitive and reasoning tasks as those who have the capacity for imagery, even if they are succeeding by different mental means.

Another way that imagination can be troublesome—perhaps a hindrance—is a familiar one: our imaginations can “run away with us”. One nice development in recent philosophy of imagination and fiction concerns how mere imagining can cause powerful emotional affect. This is obviously true when we watch a film or theatre performance or read a novel. Imagining mere fictional characters and events results in feelings of sadness, pity, fear (or at least, feelings very much like them). In these cases I don’t think we would want to call it a hindrance, but now just notice how roughly the same phenomenon occurs when we are imagining mere possibilities in our lives: one can imagine that a loved one may be terminally ill, that the audience thought your lecture was rubbish, that that’s not a gremlin in the attic but a devastating termite infestation. And these imaginings may absolutely result in genuine emotional affect. This can be a hindrance, emotionally and in our decision making capacities.

A perhaps less familiar way that imagination might be a hindrance concerns knowledge. Many think that having knowledge of some proposition P involves certainty that P is true. Here is one way to characterize this epistemic achievement: certainty that P requires that one be certain that propositions incompatible with P (most obviously, not P) are false. Thus to know that you have a physical body and live in a material world (again, call this ‘P’), you need to be certain (or, as we sometimes say, have a justified belief) that you are not living in some science fictional scenario, say, where all of your experiences are the mere consequence of an elaborate computer simulation. (This may sound outlandish, but how could you be absolutely sure that this scenario is false? It’s notoriously hard to answer that question with certainty. And if you want more down to earth examples: short of going and looking, how can you be certain…that you locked your apartment door this morning? that your car is parked where you left it? that there are no typos in the email you just sent?…it’s easy to imagine possibilities incompatible with each of these propositions). So…this latter proposition (living out an elaborate computer simulation) is incompatible with the truth of P (that you have a physical body and live in a material world), and thus incompatible with your knowing that P. And here is the rub, the more imaginative you are, if you “let your imagination rip”, to steal a phrase from David Lewis, the more salient are those possibilities incompatible with your knowledge that P. So, perhaps surprisingly, imagination can restrict knowledge: as imagination goes up, so to speak, we can become more sceptical and knowledge can elude us.

RB: How do you, or how would you like to, see the future philosophical and psychological exploration of our imaginative capacities progressing?

DS: Well, I’d certainly like to see more collaboration between empirical researchers and philosophers on the topic. Things are trending in this direction, so I’d just like to see that continue. It’s a place—and theories of mind in general are a place—where, I think, interdisciplinarity is worth the hype.

As I noted earlier, the dominant emphasis in the last couple decades has been on non-sensory imagination, and at the cost of work on imagery. I’d like to see that change.

Finally, I think the work on imagination and fiction is good. But I think we should see more emphasis on the importance of imagination to other aspects of life: to the pursuit of knowledge, to happiness, to understanding of others. I’m not suggesting that there hasn’t been some of this work, there has been. But I think there should be more and more of it. To use my own slogan once more, imagination is not all play and no work: it does a great deal of work for us. It may sound lofty, but I think imagination contributes in deep and rich ways to the human condition, and so I would like to see more philosophical and cognitive scientific discussions of this broad importance.



The post Creativity, Imagination and Philosophy appeared first on Interalia Magazine.

Creativity, Imagination and ‘Finding Your Element’

Richard Bright: What is the biggest misconception people have about creativity?

Ken Robinson: There are several. Probably the biggest is that creativity is an exceptional set of powers that few people have. My argument is that, if you are a human being, it comes with the kit; you’re born with these powers. Creativity is not a single power that only a few people have, it’s a set of capacities that everybody has. There’s an analogy with literacy. With a few exceptions, everybody is born with the capacity to be literate, but not everybody is, because not everybody has learnt what’s involved and practiced the skills that are needed.

Becoming literate is different from learning to speak. Most children learn to speak quite naturally; nobody teaches them formally how to do it. They just pick it up. You couldn’t teach them. It isn’t practical to teach anybody to speak at that age; you coax, encourage and correct them, but you don’t ‘teach’ them to speak in any formal sense. But writing and reading are cultural skills that have to be studied and practiced and usually do need to be taught. Similarly, all people are born with ‘creative capacities’ but not everybody develops the skills that are necessary to fulfil them.

RB: Would you say that creativity is a natural instinct?

KR: It’s a suite of things. I make a broad distinction between imagination and creativity. Imagination is where all this comes from. It’s part of what makes human beings different from the rest of life on Earth. Very few things do, when it comes down to it and we make far too much of the differences. We’re mortal, organic creatures of flesh and blood. We depend for our survival on what the Earth provides. Our life cycles are similar to many other species; we are part of the natural world.  At the same time, it’s evident that there are some differences between humanity and the rest of life on earth. You and I are communicating across continents by Skype. You’re sitting in a building that someone designed and others constructed and you’re surrounded by digital technologies. So am I. We’re using articulate languages. Other creatures aren’t doing that. There aren’t cats and dogs Skyping in some other parts of the building on devices they came up with.

Clearly there are differences in the way we engage with the world around us. One way of describing these differences is to say that human beings have powerful imaginations; that we are born with a capacity to look beyond the immediate sensory environment. As far as we can judge, other creatures are more ‘locked in’ to the here and now than we are.

By imagination, I mean the ability to bring into mind the things that are not present. With imagination, you can step outside the immediate here and now; you can re-visit the past; you can enter the mindsets of other people and try to see the world from their perspective; you can anticipate the future and hypothesise.

Imagination is the wellspring of creativity. But creativity is a step on. You could be imaginative all day long and never do anything. We wouldn’t say, “There’s Richard, he’s tremendously creative. He never does anything but he’s terribly thoughtful. He lays in bed all day, staring at the ceiling.” To be creative you have to do something, it can be anything, but it has to be something. It could be mathematics, publishing a magazine, making a meal, writing a play, designing a building, coming up with a new scientific theory. But it has to be some thing.

I define creativity more specifically as the process of having original ideas that have value. There’s a shorter way of thinking about it, which is that creativity is putting imagination to work. It is ‘applied imagination’. It’s the executive branch of imagination. We’re born with fertile imaginations. Children often lead wonderfully imaginative lives. They create imaginary worlds and dwell in them with tremendous enjoyment and confidence. To move into the more purposeful realm of sustained and serious creativity, we need to acquire the necessary skills and dispositions in the domain in which we are interested, or at least enough to get started.

I had an indirect exchange with Michael Gove last year. He was on BBC Question Time, talking about how creativity is all very well but musicians have to learn all their scales first; they have to master their instruments before they can create. Well, they don’t. There are many wonderful musicians who don’t know one end of a stave from another, and who learnt ‘on the job’. Think of jazz musicians, rock musicians, blues guitarists who learnt through improvisation and trial and error. I’m sure there are many accomplished classical musicians too, who started making music before they understood what they were doing technically and had mastery of their instruments.

Of course, there’s a reciprocal relationship between the skills you need and what you are  you are capable of doing, but you acquire skills more readily when you need them. I don’t play the piano and I can’t be properly creative on it. I could make a row on a piano. I could vent on it for a while, I could do something that I might personally find interesting but I wouldn’t expect anyone else to take an interest in it because I can’t control the medium. Sustained and fulfilling creative work in any domain requires a growing mastery of the discipline itself. But you can get started and learn more as you go.

Children start out being very imaginative but as they get older they may not acquire the skills they need or they may lose the confidence. They become more self-conscious look at what other people are doing and think, “I can’t do that.” Kids will draw unselfconsciously until they’re five, six or seven. By the time they’re ten, they’ll often say, “I can’t draw.” Actually, they probably can’t. I don’t know how to fly a plane. There’s no point in saying, “Oh go on, have a go!” because I can’t. Of course, I could learn how to do it. There’s a difference between saying, “I don’t know how to do it” and “I’m incapable of doing it.” I can’t play the guitar, it doesn’t mean that I couldn’t, I just can’t at the moment. I could if I put my mind to it.

We all have creative capacities, but they do have to be cultivated. If we neglect or demean them in schools, those natural talents may start to atrophy.

RB: You mentioned drawing and how children, when they are seven or eight, feel that they can’t draw. At some point children are told to draw ‘realistically’ and some then believe they cannot draw because they cannot draw realistically. But they’re still expressing their creativity, although they’re being told, “Well, you can’t draw realistically, therefore you can’t draw.”

KR: Untutored, children’s drawings typically go through various stages of development. Very young children start off with unrecognisable shapes and splodges. As they grow, they start to draw stick people. Then they start adding more details and features. As they go on, they develop some perspective in their drawings. When they get to the age of twelve or thirteen, without tutoring, they don’t get much better. They reach a plateau. Consequently, many adults have the graphic skills of an adolescent. If you asked a typical forty year old they’d probably say, “Well, I can’t really draw.” They’re probably right. They can’t really. If people can’t read, there’s no point in saying that they can when they can’t. But they could, with help.

RB: Going back to imagination. Imagination, as you said, is very tied up with creativity. Ted Hughes, in an essay entitled, ‘Myth and Education’ said, “The real problem comes from the fact that outer world and inner world are interdependent at every moment, we are simply the locus of their collision. And, whether we like it or not, our life is what we are able to make of that collision and struggle. So, what we need is a faculty that embraces both worlds simultaneously, a large, flexible graph, an inner vision which holds wide open like a great theatre, the arena of contention, and pays equal respect to both sides. This really is imagination.” Basically, he’s saying that imagination and creativity involves this dynamic process of negotiation between the inner and outer world. Would you agree with this statement? That there’s a negotiation between the inner and outer? If you’re too ‘inner’, you can be psychotic. If you’re just ‘outer’, you become less empathetic.

KR: Yes, absolutely. One of the consequences of our powers of imagination and creativity is that we don’t live in the world as directly as other creatures seem to do. We live in a world of ideas and conceptions, of representations. We don’t just live in the world, we have ideas about it, we think about it, we theorise about it, we place frameworks across it, we see it through veils of conceptions, through our languages, our cultures and our ideologies. Some of the most bitter battles and murderous conflicts in the world are over ideas, not property. They are between people avidly contesting their own views of the world.

We do live in two worlds. It was nicely put some years ago in a book by Robert Witkin, called ‘The Intelligence of Feeling’.  He said there’s a world that exists, whether or not we exist – a world of other people and objects, a world that was there before we came into it as individuals. There’s another world that exists only because we exist; it’s the world that came into being when we did, it’s the world of our own private thoughts, feelings, perceptions and motivations, a world in which, as R.D. Laing once said, there’s only one set of footprints. We only know the outer world through the inner world, through our various senses and the ideas we have about it.

Education systems are pre-occupied with this outer world, with the events that go on in it and with information about almost to the complete neglect of students’ inner lives. There has to be balance between the inner world of feeling and spirituality, and the outer world of events, ideas and information.

One way, of distinguishing arts and sciences is that the natural sciences especially are focused on understanding the outer world in its own terms. Science is objective in the sense that people aim to produce observations and theories, which can be independently validated by other people using agreed criteria and procedures. In these ways, the assertions of scientists can be challenged, refuted or verified by other scientists. They are objective in that sense.

Objectivity isn’t the same as truth. Ideas and theories that people agree on with complete, objective certainty may turn out in the light of better information and analysis to be completely untrue. That doesn’t mean that they weren’t objective in the first place. They may have been subjected to all the normal criteria of objective judgement: they just turned out to be wrong.

What artists typically aim to do is not only to describe the outer world in terms of itself but of its relationship with our inner worlds: that point of collision that Ted Hughes talks about, where these two worlds intersect. “This is how it looks to me, this is how I experience it. This is how I feel about this.” This doesn’t mean that the arts are not objective, they can be completely objective, but they report on different sorts of truth. They live in that intersection of the inner and outer worlds and they’re all the more important for that.

Creativity isn’t just about the arts. When people say they’re not creative, often what they mean is that they’re not artistic; they don’t play an instrument or draw or dance. But creativity is a feature of all areas of human intelligence, and it operates often in very similar ways in different disciplines. There are many synergies between the arts and sciences, for example. They may answer to different criteria, the purposes may be different, but the interests between them and the processes they draw on are more alike than is commonly understood. Education often divides disciplines and tries to keep them apart but out in the world they constantly flow together.

RB: The statement you made, about defining creativity as a process of having original ideas that have value, the term ‘value’ is loaded, it’s subject to interpretation and misinterpretation. People often associate creativity with the individual, but there’s also the social dimension as well. Would you agree that there’s the value personally for the individual, but also there’s a social dimension?

KR: All three parts of the definition are important. It’s a process and not an event. In any creative process you work to shape the idea or object you are producing. It often takes a different form in the end from what you had in mind when you started out. Being creative is a process of successive approximations. It’s a material process too. The materials being used are not incidental to how the work evolves but central to it.

Some artistic movements, for example, have been spurred by new technologies and materials. Impressionism was borne forward with the development of pre-mixed and synthetic paints, which gave painters a different and more vivid palette than before. The availability of these paints in tin tubes also allowed them to work more easily and quickly outdoors.  The instruments of the symphony orchestra are a tool kit. The development of these instruments intermingled at every turn with the evolution of Western music itself. But these are tools. A cupboard full of these instruments has no music in it until musicians breathe life into them.

So, creativity is a process in which the work you are producing evolves in the making. Sometimes people come up with a finished work straightaway, but it’s more the exception than the rule. It’s said that John Milton never revised ‘Paradise Lost’. He woke up every morning and dictated sections of it to his daughters. They took it down and took it off to the publishers and that was that. It’s much more often the case that creative work takes shape with successive revisions, false starts, edits and changes in the process of making it.

Creativity is about producing something new.  At the most basic level, it means producing something that didn’t exist before. To count as creative, the work doesn’t have to be original to the whole of humanity. It doesn’t have to be quantum theory, or Beethoven’s Ninth. It does have to be new to the maker at least and not just a copy or a repetition.  Value judgements are important here too. In judging our own and other people’s creative work, we constantly apply values to them. Is it any good? Is it worth it? Does it add up to anything? Does it matter? In any creative process, there is a constant questioning, “Does that feel right? Is that OK? Is that it?”

Then, when the work is out in the world, people bring their own judgments to it and decide whether they think it’s any good. That’s true in the sciences and the arts. Most of our judgments about original work are about value. It does of course then raise the question, “Whose values?” There’s no single answer to that. What we do know is that a lot of original work, in all sorts of fields, was vilified when it first appeared. Some of it was deified later on when people got the hang of it; some turned out to be nonsense after all.

Original work is often misunderstood at the time, because it doesn’t sit well with dominant cultural values. Some people start by thinking, “This is rubbish” Then, if it has some enduring quality, people think of it differently because it shifts the value system.

You can’t really have a conversation about arts, or creativity in many fields without encountering value judgements. I don’t know why people shy away from that. Of course, you should be prepared to defend value judgements and to say which values are being applied and why. I think people are sometimes nervous of making value judgements because of a ‘scientistic’ culture that demands quantitative data as proof of judgement. Not all judgements can or should be quantified in the same way.

RB: I want to come on to education. We talked about the creative process, where one is working with limitations. Stravinsky once wrote that the more constraint one imposes, the more one frees oneself. John Cleese talks about creativity as a way of operating, as opposed to a talent, and he imposes time restraints on his creative output during the day. Anish Kapoor talks about limiting failure time, working with failure and reducing that failure time. That idea of working with limitations, self-imposed, or imposed by others, is actually part of the creative process. There are no hard and fast rules about creativity, it can come from desperation, deadlines or daydreaming. So, getting on to education, can creativity be educated? Or does education actually jeopardise creativity?

KR: Limitations and constraints can have an important role in creativity. David Rockwell, the architect, was recently commissioned to design a theatre for the TED conference, which now takes place in a large, rather featureless convention hall at the Vancouver Convention Centre. The actual space is like an aircraft hanger. His commission was to design a theatre that could house twelve hundred people with a sense of intimacy with the stage and each other. The TED conference is only in the space for one week a year and the theatre has to be assembled relatively quickly on site and then dismantled and stored for the next year. He designed a wooden theatre, a little like Shakespeare’s Globe Theatre in London It’s a beautiful structure that creates a vibrant, intimate space. The strict constraints on space, portability and materials drove the design.

Creativity is not all about freewheeling and freefalling. It’s about control and rigour too. I’m doing some work at the moment with Disney and the ‘Imagineers’. They are brilliantly talented in all sorts of ways, and deeply disciplined in what they’re doing. So, can education help to promote creativity? Well, yes.

Joi Ito runs the media lab at MIT. He said recently, “Learning is what you do for yourself, and education is what other people do to you.” That’s a nice way to put it. Education is about learning. It shouldn’t be necessary to say that but it is. It’s like saying the health service is about health. It is, but in practice all kinds of people go into hospital for one condition and get sick or die of another that they contracted in the hospital. Too often kids love to learn until they go to school because the conditions in schools can militate against it.

There are various ways in which education gets in the way of creativity in particular. One is that most education systems actually do very little to cultivate it. If it happens at all, it happens incidentally through the efforts of individual teachers who are impassioned about it. Politicians talk a good game about creativity, but they don’t do what’s needed at the policy level to make it flourish. Often enough, they do the exact opposite.

Schools can frustrate creativity too, sometimes accidentally and sometimes deliberately, in how they’re organised and operate. Education consists of four interweaving strands; there’s the curriculum, which is what we want people to learn; pedagogy, which is how we aim to help them do it; assessment, which is how we report on how they’re getting on; and the overall culture of the school, which gives strong, if tacit messages about priorities through the physical environment and algorithms of the day.

Broadly speaking, I distinguish between general creativity and personal creativity. There are all kinds of ways to help people think more productively and generate fresh ideas. Edward de Bono has written a lot about this and produced some great strategies like the ‘six thinking hats’ and other practical techniques for generating and sifting through ideas and for organising groups to be more productive. There are other proprietary systems too, like Synectics and Design Thinking, which offer their own techniques. These sorts of techniques can be applied to anything from designing a new car to planning your holidays. I think that schools should routinely teach the skills of general creative thinking.

By personal creativity, I mean areas in which, as individuals, we have a particular calling. I wrote about this in the Element books. For some people it may be chemistry or basketball; others come alive when they’re working with animals, others when they’re dancing or writing. There’s a very personal dimension to these forms of creative work because they fulfil personal talents and passions.

Education militates against general creativity because schools don’t teach the skills and processes of creative thinking. It inhibits personal creativity because a narrow curriculum limits opportunities for students to develop their personal talents and passions or doesn’t allow them enough time to pursue them. There are pedagogical issues too. Teachers themselves are very constrained by the testing demands in schools and not enough of them know how to facilitate the creative process.

Methods of assessment also have to be compatible with promoting creative work. When I was chairman of the Department of Arts Education at Warwick University, I was pressing to have the practical work of students in theatre, dance, visual arts and music, accepted for assessment in its original forms. The general unit of assessment at the time was a two thousand-word essay. Even students that were doing art had to submit essays, not paintings. I remember a conversation with another member of the examinations who said, “There’s no objective way of judging these works” I said, “How do you judge a paper in mathematics?” He said, “We give them to mathematicians.” I replied, “Let’s give works of art to artists and get them to assess it. Let’s give novels to people who understand about novels.” The next issue was comparability. I was asked how we could compare paintings to a two thousand-word essay. I suggested that as a picture is said to be worth a thousand words, the students should probably submit two pictures …

If schools are serious about promoting creativity in schools, they have to look at the curriculum, teaching and assessment and at the physical environment in which students are learning. They have to understand and encourage the conditions in which both general and personal creativity actually flourish.

RB: Certain languages, the written language, the visual language, mathematical language, are sometimes non-transferable. An example would be that, in mathematics, you can describe multi-dimensional space quite easily – up to twelve dimensions – in the visual language you can only imply it in four dimensions; you cannot go beyond that. Visual language is a system of communication, to encode concepts, information and meaning, using visual elements only, no other ‘language’ is needed or will suffice. It’s non-transferable.

KR: Richard Feynman talked about that. As well as being a great physicist, he was also a musician. He said, if you want to understand quantum theory you need to know mathematics. You can’t understand it otherwise. You can approximate it, you can get some rough idea of what we’re talking about, but you can’t engage in it without mathematics. You can’t get there through music.

Different areas of understanding need different modes of discourse. If somebody wants to know that you love them write them a poem, don’t give them an equation. A major argument for the arts in schools is that there are some forms of experience that that we can’t fully understand without them.

RB: My last question. Is finding one’s element a quest?

KR: Yes it is. I write about this in Finding Your Element. A quest is a particular type of journey. If you’re in Bath and decide to go to London, you know where it is and the odds are pretty high you’re going to get there. A quest is a different sort of journey, where you set out purposefully, but may not have a clear idea of the destination or if you will make it. Finding your element is a two-way quest. It’s an inner journey to understand more about yourself, your talents, and the things that engage and interest you. In that sense it’s a spiritual journey: the sense in which you are in high or low spirits, in which your energy is enriched, or depleted. If you’re in your element, you get energy from what you do. Doing things you don’t care for tends to take energy from you.

Finding your element is not just a journey into yourself. It’s a quest to discover more of yourself in the world around you. You may not know what’s in you, until you put yourself to the test in the outer world. It’s that interaction that Ted Hughes talks about.

In Finding Your Element I set out some practices and techniques for this two-way quest. I also argue that this isn’t only or necessarily about what you do for a living, it’s about what sort of life you want to lead. I spoke at an event a few years ago with HRH the Dalai Lama. He said lots of wonderful things. One was, “To be born at all is a miracle. So what are you going to do with your life?” I think that’s exactly the right question.

The odds of our being here individually are very small and we’re not here for very long. Many people spend so much of their time just coping and getting through it. According to the World Health Organisation, by 2020 the second largest cause of disability among human beings, will be depression. Education does little to help here. In high-performing systems on standardised tests, like South Korea and Singapore, kids are being driven to states of high anxiety and often suicide because of the pressure of competition.

Dealing with these sorts of issues is about understanding that education is a personal process and that there are certain conditions under which human beings flourish, and others under which we do not. That’s what the Element books are really about.

The post Creativity, Imagination and ‘Finding Your Element’ appeared first on Interalia Magazine.

The Alchemy of Oblique Topography

Imaginary Echo Chamber. Mixed Media, 2016, 68cm x 74cm

Speculation regarding global-scale catastrophe has heightened exponentially in this current age of socio-economic pandemonium and the algorithmic governance that has seen the dissolution of previously dominant socio-cultural value systems built on Taylor’s scientific management of the capitalist society.

While the transhumanism of crypto cloudminds, recent advances in synthetic biotechnology, and the politics of biometric surveillance are taken into consideration when crafting measures to counteract techno-economic disruption, the complex urban apparatus demands innovative reconfiguration to address the spatial dynamics of rapid and unregulated urban growth.

The speculative visualization approach reflects the acceleration of the human-influenced geological epoch and eventually fosters critical thinking in relation to the underlying agendas of the increasingly dominant anthropocentric biophysical processes and subsequent dystopia.

Recursive Topography of Uncertainty. Mixed Media, 2017, 81cm x 67cm


Surviving in the Multidimensional Space of Cognitive Dissonance. Mixed Media, 2014, 80cm x 110cm

All the layers of lines, forms, and colors merge to create a holistic vision whereby the morpho-semantic representations of prototyping to post-processing in the substructure of state machine are exposed through symptomatic reading. In the meantime, each layer of accumulated images represents a post-human agency of epistemological perceptions in sociological imaginaries. These multimodal visual narratives are employed to document and assimilate the urban metamorphosis to maximum effect in a syntactic context. The cluster-oriented genetic algorithm optimizes the subtle movement of each phase-shifted layer to enact and improvise the ever-evolving ethereal visions of epistemological reflection.

The Biometric Ephemera of Positronic Variation within Transient Bounds. Mixed Media, 2016, 80cm x 100cm

As it relates to the imaginaries of transhuman urbanism, the optimum design of cities is determined through the flow, exchange, and interbreeding of organic and non-organic beings in place of nested binary zoning codes. These hybrid sentient entities interact through neurobiological means, embracing the biosynthetic technologies of symbiotic and autonomous multi-agent system.

They have the capacity to self-organize during assembly and optimize themselves as the multiplicity of biocomputing intelligence based on environmentally responsive particle morphology. Furthermore, the inter-communal dynamic and accelerated interdependency between living, non-living, and hybrid agents facilitate the sustainable development of the urban assemblage.

Swirling Effects and Their Wayside Phenomena. Mixed Media, 2016, 67cm x 72cm

While allowing for multiple possible scenarios of ecological configurations, the collective intelligence of the post-anthropocene is prototyped and  planetary-scale networks are hypothetically formulated at  molecular level. Consequently, the dynamic interplay between the biomorphic protocols of advanced hybrid technologies and existing obsolete infrastructures is considered to be the catalyst behind establishing the conjectural approach towards visionary urban cosmologies.

The Frozen Air Evoked the Analogical Still of Ephemeral Swarms. Mixed Media, 2015, 53cm x 83cm


The Extensity of Sferics Counterpoint. Mixed Media, 2017, 79cm x 114cm

Artist Statement

Matsumoto’s work reflects the morphological transformations of our ever-evolving urban and ecological milieus, which could be attributed to a multitude of spatio-temporal phenomena influenced by social, economic, and cultural factors. These works are created as visual commentaries on speculative changes in notions of societies, cultures, and ecosystems in the transient nature of constantly shifting topography and geology.

The artworks explore the hybrid technique, combining both traditional (ink, acrylic, and graphite) and digital medias (algorithmic processing, data transcoding, and image compositing through customized software).

The varying scale, juxtaposition of biomorphic forms, intertwined textures, oblique projections, and visual metamorphoses are employed as multi-layered drawing methodologies to question and investigate the ubiquitous nature of urban meta-morphology, emerging realities of post-human dystopia, and their visual representation in the context of non-Euclidean configuration. The application of these techniques allows the work to transcend the boundaries between analog and digital media as well as between two- and multi-dimensional domains.

Matsumoto’s process-oriented compositional techniques imbue the work with what we see as the very essence of our socio-cultural environments, beyond the conventional protocols of architectural and artistic formalities; they conjure up the synthetic possibilities within which the spatial and temporal variations of existing spatial semiotics emerge as the potential products of alchemical procedures.

The Reverberant Ambience of Interpretative Codes for an Ancient Artifact. Mixed Media, 2015, 68cm x 93cm


Transient Field in the Air. Mixed Media, 2014, 85cm x 57cm


Those Who Affirm the Spontaneity of Every Event. Mixed Media, 2014, 84cm x 119cm


Water, Hinge, Field. Mixed Media, 2014, 42cm x 59cm


Waves and Particles. Mixed Media, 2014, 85cm x 59cm


All images copyright and courtesy of Ryota Matsumoto

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The act of containing is always an act of restraining—holding something or someone in place.

Keeping proper control. Limiting expansion.

Preventing advancement.

When an infectious disease presents itself, we act to contain it.

An act that can be both liberating and traumatic.

Contained is an exhibition of installations that encompasses both these possibilities.

In 1944, my mother Louise Poulin, contracted Tuberculosis (TB) while caring for her stricken brother and sister-in-law. She was sent to a sanatorium in rural Quebec for treatments that were current at the time – rest therapy and artificial pneumothorax. These treatments involved almost constant bed rest, a healthy diet, hours and hours of fresh air (at times, covered in blankets on a porch in the middle of a Canadian winter), and collapsing of the lungs to cut off oxygen flow to the TB bacteria. For over two years, day-in day-out, she lay there wondering if she would survive while many around her succumbed to the disease. She often dreamed of escaping, flying past the surrounding farmlands, over the grand forests, and into the hopeful sky. My mother’s experience of contracting TB, and the fragility of all life, is the narrative that informs Contained.

Contained Installation view 2018 (Photo credit: Elaine Whittaker)


Contained Installation view 2018 (Photo credit: David Williams)

Illness as a young person, especially traumatic illness, embeds itself deep inside the psyche. It festers and often manifests itself as overwhelming fear. My mother was haunted by such fears and it shaped her identity in the world for the rest of her life. This was apparent in her reactions every time either I or my brothers became ill, and her adamant concerns for proper inoculations and medical tests. Her ever present fear that we might contract TB or another equally terrifying infectious disease made me aware that there was a world of invisible microbes with a potential to suddenly infect or even cause death. It was only later, when conducting research for my art practice, did I become aware that most microbes are not infectious, are more harmless than harmful, and our symbiotic relationship with them is part of our own well-being. This knowledge – of this necessity and danger – of microorganisms that form our natural and human ecology is a constant in my artwork.

Contained, first shown at the Red Head Gallery in Toronto in 2018, is composed of a series of mixed media installations, monoprints, drawings and sculptures. With these works I abstract and transform my mother’s experience of living in a TB sanatorium, to create a gallery atmosphere that is clinical, fantastical, immersive. Drawing on my ongoing artist residency at the Pelling Laboratory for Augmented Biology (University of Ottawa), I combine medical tools and scientific processes into a series of installations and sculptures encapsulating biomaterial, feathers, salt crystals, avian lungs and plant fibre containing human lung cells.

She Hungered for the Sky, 2018. Bed, bedside table, chair, crocheted shawl by Louise while in sanitorium, her books and music piano music sheets, personal items, table cloth, petri dishes with ink drawing and X-ray of lungs with TB (Photo credit: Elaine Whittaker).


She Hungered for the Sky (detail) (Photo credit: Elaine Whittaker)

The centrepiece installation, She Hungered for the Sky, recreates the atmosphere of the sanitorium – a white chair with the shawl she crocheted while living there; a bedside table with her books and personal items; and  an empty skeletal 1940s hospital bed with attached dangling petri dishes containing TB X-rays and drawings of lungs. In the centre of the bed frame, laid across the bare floor, lies her favourite crocheted table cloth, metaphorically emphasizing her fragility and confinement. Directly across from the bed is a wall installation entitled Fragile Forest. Representing the forest that captured my mother’s dreams and fantasies of escaping her illness and containment in the sanatorium, it is composed of white alveolar-like branches (waxed grape stems) that are adhered to cell culture plates. Above them, partially decellularized maple leaves, fragile and spotted like infected lungs, are precariously attached to the wall, fluttering from passing air currents. Decellularization means the plant cells have been dissolved leaving only a cellulose scaffold. This results in draining their colour, leaving them ghost-like and ephemeral. Lit from below, their silhouettes and that of the forest become even more heightened apparitions.

Fragile Forest (detail 1) 120”x 6”x 4”, 2017. Grape stems, wax, partially decellularized maple leaves, pipette tips, cell culture plates (Photo credit: David Williams)


Fragile Forest (detail 2) (Photo credit: Elaine Whittaker)

As one moves through the exhibition space, a series of framed monoprints and drawings of leaves and lungs, as well as small sculptures on pedestals, are encountered. These works continue to draw on the metaphors of forest and flight. They include test tubes inserted with partially decellularized maple keys (seeds) held in place by cell culture plates and stacked on synthetic maple leaves; sections of avian lung tissue displayed in tiny petri dishes; feathers in vials; miniature nests constructed from medical tubing; and a crow skull. All these objects are carefully placed and contained on clear acrylic bed-like trays.

Airborne 1, 12”x9” 2017. Ink monotype on paper (Photo credit: Elaine Whittaker)


At Rest: Dwelling, 6”x12”x3”, 2018. Plastic tubing, sparrow feathers, test tubes, acrylic trays (Photo credit: David Williams)


At Rest: Flight, 6”x12”x3”, 2018. Sparrow feathers, test tubes, Common Raven skull, acrylic trays (Photo credit: David Williams)


At Rest: Breath (detail) 6”x12”x3” 2018. Petri dishes, avian lung tissue encased in salt crystals, display & acrylic trays (Photo credit: Elaine Whittaker)


Quiescent Growth (detail) 36”x22”x6” 2018. Partially decellularized maple keys, test tubes, cell culture plates, synthetic leaves (Photo credit: Elaine Whittaker)


Vestigial 2 11”x14” 2017. Ink monotype on paper (Photo credit: Elaine Whittaker)

The notion of a confined bird on the edge of expiration and a fantastical forest that heals and provides hope is woven through the artworks. But the reality is that TB is still an infectious disease ravaging the world. A wall installation of over fifty eerie beautiful oxygen masks lined up with cascading tubes gives prominence to this continuing – even resurgent – plague. These empty ominous masks, entitled Fraught Air, starkly remind us that TB may be out of mind for many people but it is yet to be defeated, known too well by the marginalized in our communities and over the world.

Fraught Air (detail) 150”x 96”x 3”, 2018. Oxygen masks (Photo credit: Elaine Whittaker)


Lungs of the Earth 22”x 8”x 1”, 2018. Petri dishes, decellularized maple leaves with human lung epithelial cells (Photo credit: Elaine Whittaker)


Lungs of the Earth (detail) (Photo credit: Elaine Whittaker)

The final artwork in the exhibition is entitled Lungs of the Earth*. Three large petri dishes with four decellularized maple leaves are elegantly displayed in acrylic holders. Again the decellularization process of removing the leaves’ plant cells has left a ghostly cellulose scaffold, but this time the scaffold has been re-cultured with human epithelial lung cells. Merging human cells within a plant matrix, this artwork is a convergence of science and technology; a hybridization of human and plant; and a possibility that human and plant can merge. There is a core message of persistence, struggle and hope. Contained is an exhibit that finds hope when faced with a life curtailed by disease. With its blend of current scientific processes and past medical practices, it becomes, ultimately, a contemplation on past histories and possible futures.


* Lungs of the Earth was made possible through my artist-in-residence collaboration with Andrew Pelling and Ryan Hickey at the Pelling Laboratory for Augmented Biology at the University of Ottawa. It was shown in the 2019 exhibit La Fabrique du Vivant at the Centre Pompidou, curated by Marie-Ange Brayer and Olivier Zeitoun as part of the Mutations/Creations platform.


All images copyright and courtesy of Elaine Whittaker

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Notes on an Aphantasic Artist

There are aspects of experience that vary between individual humans, and that contribute to the way individuals think and behave differently to others – aspects that, in other words, make up personal identity.

One of these is the degree to which people experience mental imagery, or picturing with the ‘mind’s eye’. The strength or vividness of mental imagery differs across the population. This is known due to psychologists using a standardised questionnaire, called the Vividness of Visual Imagery Questionnaire (VVIQ), where participants are asked to visualise something then rate the vividness of what they picture, from ‘1’ for no image, to ‘5’ for an image ‘as vivid as real seeing’.

When this test is given to a group of people the results form a bell curve of normal distribution (leaning slightly towards higher scores, because of the social desirability of a ‘vivid imagination’). Most people’s scores fall around the middle of the curve, experiencing some degree of imagery, but at one edge of the curve are those report to lack visual mental imagery entirely, giving ‘1’ for every task in the VVIQ.

Fig. 1 Distribution of Vividness of Visual Imagery Questionnaire (VVIQ) scores in participants with aphantasia and control participants (VVIQ range extends from 16, lowest imagery score to 80, highest imagery score). [Zeman et al 2015, p2]

The phenomenon – that some people do not experience visual mental imagery – had been given little scientific attention until it was given a name in 2015 by the British neurologist Adam Zeman and colleagues: aphantasia.

This was publicised in the popular science press, and very soon, and for the ensuing years, thousands of people contacted Zeman to say that they had ‘aphantasia’. Among these, to the researchers’ surprise, were many artists – and designers, architects, and writers – who could not visualise. To investigate this phenomenon of creativity without visualisation the researchers, co-curating with artist Susan Aldworth, developed an exhibition of ‘aphantasic’ artwork.

While the resulting exhibition included 19 visual artists, I want to focus here on the work and procedural narrative of one in particular, which, I think, is particularly representative of the way that aphantasic artists tend to work. This is the British artist Michael Chance, who paints detailed figurative scenes. Rather than being a barrier to creativity, as one might expect, Chance views his aphantasia as a stimulus, because he cannot personally entertain images other than by creating them in paint:

The lack of ability to visualise images in my mind is a great motivation; I must physically work on a drawing or painting in order for my imagination to become visually manifest. I often start a picture with no intention and certainly no end goal; it materialises in an improvisatory way. This sense of stepping out into the unknown is thrilling and the subsequent discovery of latent imagery fascinating. Largely bypassing conscious decision making, the way images (usually figures) emerge from my subconscious is akin to dreaming, and the resulting work is often just as strange, surprising and revealing as that would suggest. However (yet, somewhat like dreams) these visions are informed by my everyday experience and observational drawing practice, and structured by my artistic understanding of illusionistic space, light, form and anatomy.’  (MacKisack & Aldworth, 2018, p35]

What is immediately noticeable is the way that Chance describes ‘physical’ work replacing mental work: painting takes the place of visualising or dreaming. This would be a good example of ‘extended cognition’ (Clark & Chalmers 1998): the brain delegating operations that it finds hard, or even impossible, to physical manipulations of external media. Also, by making the images the artist discovers something that they did not or could not ‘foresee’. This process of search, discovery and ‘materialisation’ is revealed by a time-lapse video Chance made of himself working.

Fig 2. Michael Chance, ‘Painting from Imagination (Bacchus Walk)’ 2016. Courtesy of the artist.

The completed painting shows how a reclining, prone, figure emerged – not, if Chance and our interpretation are correct, from the artist’s deliberations, but from the canvas itself and the two faces in profile, suggested by the negative space between them.

Michael Chance, Bacchus Walk, 2016 Oil on board, 92×122cm . Courtesy of the artist

What Chance and his work demonstrates is that the lack of conscious imagery has multiple implications for artistic practice – but none for the creativity of the artist. Imagery ability is not equal to ’imaginativeness’. It seems that aphantasia instead can have a more holistic’ affect on artistic identity, influencing the decisions one makes about how to work and what to do. For example, having no plan’ as such, you just start making marks and see where they lead – in Chance’s case, fed by his training and knowledge of anatomy, figures emerge. Of course, artists without aphantasia also do all these things. And one couldn’t know if a picture had been made by an artist with imagery or without. But that is what the phenomenon of aphantasic art forces us to realise: the diversity of the hidden routes to creation.


MacKisack, M. and Aldworth, S. (eds.) Extreme Imagination – Inside the Mind’s Eye. Exeter: The Eye’s Mind Press. (2018)

Zeman, A., Dewar, M., & Della Sala, S. (2015). Lives without imagery: Congenital aphantasia. Cortex, 73, 378e380.



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