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造翼者資料 與 薩滿神祕主義(shamanic Mysticism)的關聯

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造翼者資料 薩滿神祕主義shamanic Mysticism)的關聯

 

以下的段落摘錄自James寫的一篇

談論他的美術創作理念的文章:作者的聲明(Artist’s Statement

 

【造翼者的美術表達了一個微妙的經驗領域。在某些方面,最好將整個作品視為一種蛻變形式的旅程—-從一種被程式設定的動物意識,轉變為Sovereign Integral的意識。

The art of the WingMakers expresses a subtle domain of experience. In some ways, it’s best to view the entire body of work as a journey into a form ofmetamorphosis—moving from a programmed animal consciousness to a sovereign integral consciousness.

 

【從內容的角度來看,我的作品難以去歸類,因為它受到三個學科的影響:量子物理學、意識和神秘主義。

From a content perspective, my work is harder to categorize, owing to its influence from three disciplines: quantum physics, consciousness, and mysticism.

 

【在我生命的大部分時間裡,研究了這些相互關聯的學科以後,我發現這三個學科是非常互補的,然而作為一種三合一的組合,在藝術界,是嚴重地不夠發達的。從純粹審美的角度來看,能夠將這些元素融入和諧與美感,對我來說,代表著藝術家志向的最大挑戰。

Having studied these interrelated disciplines for most of my life, I’ve found that these three subjects are very complementary and yet, as a triad, woefully underdeveloped in the art community. From a pure aesthetic perspective, being able to bring these elements into harmony and beauty, represents, to me, the greatest challenge of artistic aspiration.

 

【量子物理學

 

量子場是由Paul Dirac保羅狄拉克在 1920 年代首次提出的。這是次原子物質被認為可以解釋實相本質的時候。然而,一個粒子宇宙的概念正在被一個場宇宙的實相所取代,變得越來越明顯。宇宙,如物理學家所解釋的,是由次原子場(不是粒子)構成的,而這些場都是相互作用的,並且它們的擴張是宇宙性的。

 

Quantum Physics

 

Quantum fields were first proposed by Paul Dirac in the 1920s. This was when subatomic matter was thought to explain the nature of reality. However, it was becoming clear that the notion of a particulate universe was being replaced by the reality of a field universe. The universe, as physicists explained it, was made of subatomic fields (not particles), and these fields were all interacting and were cosmic in their expansiveness.

 

【意識

 

這些次原子場與我們對於”意識不同於大腦”的理解是相互關聯的。大腦被重新定位為意識的傳遞者,而不是它的來源。意識並不包含在大腦(或身體)之中,而是在時空中某個不確定的所在使用著大腦。“意識起源於何處以及如何產生”一直是個謎。然而,這正是神秘主義和薩滿的傳統所介入並提供某些來自經驗之答案的地方。

 

Consciousness

 

These subatomic fields correlated to our understanding of consciousness as being different from the brain. The brain was being repositioned as the transmitter of consciousness, not its source. Consciousness was not contained in the brain (or body for that matter), but was rather using the brain from some indeterminate location in spacetime. Where and how consciousness originated was left a mystery. However, this is where the mystical and shamanic traditions stepped in and provided some experiential answers.

 

【神秘主義

 

如果我們回到史前時代(即公元前50,000),人類,游牧的部落是由薩滿領袖所帶領的。人類的生死取決於其尋找水和食物資源的能力。精神領袖的責任是聯繫“自然性靈”的任務,以幫助部落找到水和食物。這些預測和神秘的能力是透過自然的揀選和時間之手所策劃的,而成為了被稱為“神秘經驗”的,在人性中非常渺小但充滿活力的部分。

 

Mysticism

 

If we go back into prehistory (i.e., 50,000 BCE), human, nomadic tribes were guided by shamanic leaders. Humanity lived or died on its ability to find water and food resources. Spiritual leaders were tasked with the responsibility to contact “nature spirits” in order to help the tribe find water and food. These divinations and mystical abilities were curated through natural selection and the hand of time, becoming known as the “mystical experience” in a small, but vibrant subsection of humanity.

 

隨著宗教的興起,神秘主義逐漸淡出人們的視線。來自宗教界的迫害認為,人不是聯合/一體的,”自然”不是人性的一部分,而那超自然的經驗,在神聖書籍的範圍之外,是邪惡的。因此,神秘主義被放置在佈滿塵土、高得無法觸及的人類經典的圖書館書架上。這種態度在19世紀盛行著,但逐漸失去動力 — 因此誕生了新時代或長青哲學。(譯註:宗教哲學的一種觀點,將世界上的各個宗教傳統視為是在分享一個單一的、普世的真理)

As religions sprouted, mysticism gradually receded out of view. Persecution from the religious quarters held that people weren’t unified, that nature wasn’t part of humanity, and that paranormal experience, outside of the purview of holy books, was evil. As a result, mysticism was placed on the dusty, too-high-to-reach library shelves of the human canon. This attitude prevailed well into the 19th century, but gradually lost momentum—birthing, as a result, the New Age or perennial philosophy.

 

物理學為我們帶來了量子場,它向我們保證了人類的相互聯繫,並在某種程度上,保證了永生不朽。意識研究向我們表明,人腦並不是身體的控制中心。而神秘主義儘管受到迫害,但已證明它自身的韌性並且得到了科學上的支持。這項工作的連接要素是將上述三個主題聯繫起來,並代表著一種創新的和發人深省的方法,說明美術如何在量子物理學、意識和神秘主義之交會部分,描繪出那些無形的和高度主觀的世界。

Physics brought us quantum fields that assure us of human interconnectivity, and to some extent, immortality. Consciousness studies have shown us that the human brain is not the control center of the body. And mysticism, despite its persecution, has shown itself to be resilient and supported by science. The connecting element of this work is to link the three aforementioned themes and represent an innovative and thought-provoking approach to how art can illustrate the intangible and highly subjective worlds in the cross-section of quantum physics, consciousness, and mysticism.

 

                                                                                                                                                                                                                                                                      譯者:達達爾

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