http://www.sara-naim.com Sara Naim Fri, 04 May 2012 16:58:53 +0000 http://www.sara-naim.com en http://sara-naim.com/3338908 http://sara-naim.com/following/sara-naim.com/3338908 Fri, 04 May 2012 16:58:53 +0000 Sara Naim 3338908 http://sara-naim.com/ZINE http://sara-naim.com/following/sara-naim.com/ZINE Wed, 02 May 2012 06:55:07 +0000 Sara Naim 3321029 ZINE CAN BE MAILED INTERNATIONALLY UPON REQUEST FOR $15 <img src="http://payload51.cargocollective.com/1/0/27554/3321029/Sara_Naim_GirlInTheDress1_1500.jpg" width="1152" height="764" width_o="1152" height_o="764" src_o="http://payload51.cargocollective.com/1/0/27554/3321029/Sara_Naim_GirlInTheDress1_o.jpg" data-mid="17049424" border="0" align="left"/> Sara Naim’s new and first zine compiles four mini series: Jumper, Gida, Dancers and Girl in the Dress. The common thread that ties the photographs together are their sequential nature, with six to nine images of each series taken within seconds of one another. Naim’s zine is a gesture of time’s character. Distributed in New York, London and Dubai, it is an edition of 150. http://sara-naim.com/2942232 http://sara-naim.com/following/sara-naim.com/2942232 Mon, 05 Mar 2012 22:10:05 +0000 Sara Naim 2942232 http://sara-naim.com/THE-BEAUTIFUL-DEFECT http://sara-naim.com/following/sara-naim.com/THE-BEAUTIFUL-DEFECT Wed, 23 Nov 2011 12:22:38 +0000 Sara Naim 2210201 THE BEAUTIFUL DEFECT: The centered subjects are cornea scans. A common feature within each cornea is that they are faulted with keratoconus disease. Whilst using the Topolyzer machine to image corneas of various sitters as an attempt to formulate a different project, I noticed that the most interesting corneas were those diagnosed with keratoconus. 'The Beautiful Defect' is a juxtaposition between the beautiful and the infected, describing the harmonious relationship between the two. (40INx30IN / C-TYPE DIGITAL PRINTS / 2011) . <img src="http://payload.cargocollective.com/1/0/27554/2210201/SaraNaim_Corneas1.jpg" width="670" height="855" width_o="1500" height_o="1915" src_o="http://payload.cargocollective.com/1/0/27554/2210201/SaraNaim_Corneas1_o.jpg" data-mid="14971629" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2210201/SaraNaim_Corneas2.jpg" width="670" height="855" width_o="1500" height_o="1915" src_o="http://payload.cargocollective.com/1/0/27554/2210201/SaraNaim_Corneas2_o.jpg" data-mid="14971641" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2210201/SaraNaim_Corneas3.jpg" width="670" height="855" width_o="1500" height_o="1915" src_o="http://payload.cargocollective.com/1/0/27554/2210201/SaraNaim_Corneas3_o.jpg" data-mid="14971673" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2210201/SaraNaim_Corneas4.jpg" width="670" height="855" width_o="1500" height_o="1915" src_o="http://payload.cargocollective.com/1/0/27554/2210201/SaraNaim_Corneas4_o.jpg" data-mid="14971683" border="0" align="left"/> http://sara-naim.com/JULY-18TH-AUGUST-30TH http://sara-naim.com/following/sara-naim.com/JULY-18TH-AUGUST-30TH Tue, 25 Oct 2011 21:59:27 +0000 Sara Naim 2204403 <img src="http://payload.cargocollective.com/1/0/27554/2204403/_6_1.jpg" width="670" height="444" width_o="1152" height_o="764" src_o="http://payload.cargocollective.com/1/0/27554/2204403/_6_1_o.jpg" data-mid="11021607" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/_3.jpg" width="670" height="444" width_o="1152" height_o="764" src_o="http://payload.cargocollective.com/1/0/27554/2204403/_3_o.jpg" data-mid="11019122" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/_1.JPG" width="670" height="444" width_o="1152" height_o="764" src_o="http://payload.cargocollective.com/1/0/27554/2204403/_1_o.JPG" data-mid="11019142" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/_5.jpg" width="670" height="444" width_o="1152" height_o="764" src_o="http://payload.cargocollective.com/1/0/27554/2204403/_5_o.jpg" data-mid="11019176" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/_4.JPG" width="670" height="444" width_o="1152" height_o="764" src_o="http://payload.cargocollective.com/1/0/27554/2204403/_4_o.JPG" data-mid="11019202" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/_2.jpg" width="670" height="444" width_o="1152" height_o="764" src_o="http://payload.cargocollective.com/1/0/27554/2204403/_2_o.jpg" data-mid="11019246" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/5.JPG" width="670" height="444" width_o="1152" height_o="764" src_o="http://payload.cargocollective.com/1/0/27554/2204403/5_o.JPG" data-mid="11019284" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/_7_8.JPG" width="670" height="443" width_o="1152" height_o="763" src_o="http://payload.cargocollective.com/1/0/27554/2204403/_7_8_o.JPG" data-mid="11021670" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/_11.jpg" width="670" height="444" width_o="1152" height_o="764" src_o="http://payload.cargocollective.com/1/0/27554/2204403/_11_o.jpg" data-mid="11019346" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/_9.JPG" width="670" height="444" width_o="1152" height_o="764" src_o="http://payload.cargocollective.com/1/0/27554/2204403/_9_o.JPG" data-mid="11019369" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/_8.JPG" width="670" height="444" width_o="1152" height_o="764" src_o="http://payload.cargocollective.com/1/0/27554/2204403/_8_o.JPG" data-mid="11019402" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/_10_25.jpg" width="573" height="864" width_o="573" height_o="864" src_o="http://payload.cargocollective.com/1/0/27554/2204403/_10_25_o.jpg" data-mid="11021501" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/_12_26.jpg" width="573" height="864" width_o="573" height_o="864" src_o="http://payload.cargocollective.com/1/0/27554/2204403/_12_26_o.jpg" data-mid="11021536" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/_13.jpg" width="670" height="444" width_o="1152" height_o="764" src_o="http://payload.cargocollective.com/1/0/27554/2204403/_13_o.jpg" data-mid="11019477" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/000036800030.jpg" width="670" height="444" width_o="1152" height_o="764" src_o="http://payload.cargocollective.com/1/0/27554/2204403/000036800030_o.jpg" data-mid="11019489" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/_14.JPG" width="670" height="444" width_o="1152" height_o="764" src_o="http://payload.cargocollective.com/1/0/27554/2204403/_14_o.JPG" data-mid="11019526" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/_15.jpg" width="670" height="444" width_o="1152" height_o="764" src_o="http://payload.cargocollective.com/1/0/27554/2204403/_15_o.jpg" data-mid="11019549" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/_16.jpg" width="670" height="444" width_o="1152" height_o="764" src_o="http://payload.cargocollective.com/1/0/27554/2204403/_16_o.jpg" data-mid="11019562" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/27440015_20.JPG" width="573" height="864" width_o="573" height_o="864" src_o="http://payload.cargocollective.com/1/0/27554/2204403/27440015_20_o.JPG" data-mid="11021419" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/_17.jpg" width="670" height="444" width_o="1152" height_o="764" src_o="http://payload.cargocollective.com/1/0/27554/2204403/_17_o.jpg" data-mid="11019637" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/_18.JPG" width="670" height="444" width_o="1152" height_o="764" src_o="http://payload.cargocollective.com/1/0/27554/2204403/_18_o.JPG" data-mid="11019658" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2204403/36190003.JPG" width="670" height="444" width_o="1152" height_o="764" src_o="http://payload.cargocollective.com/1/0/27554/2204403/36190003_o.JPG" data-mid="11019674" border="0" align="left"/> http://sara-naim.com/PORTRAITS-OF-NATIVES http://sara-naim.com/following/sara-naim.com/PORTRAITS-OF-NATIVES Tue, 25 Oct 2011 14:41:58 +0000 Sara Naim 2201954 PORTRAITS OF NATIVES: Dubai is a city with little history. 'Portraits of Natives' gives attention to its oldest residents, native trees. A region that only boomed in 2006, Dubai has recently witnessed desert plots exchange for skyscrapers, and marble floors for wind towers. This series isolates and docuents the near-to-extinct natives.. (45CMx32CM / C-TYPE DIGITAL PRINTS / 2011) <img src="http://payload.cargocollective.com/1/0/27554/2201954/1.jpg" width="670" height="444" width_o="1440" height_o="955" src_o="http://payload.cargocollective.com/1/0/27554/2201954/1_o.jpg" data-mid="11005996" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2201954/2.jpg" width="670" height="444" width_o="1440" height_o="955" src_o="http://payload.cargocollective.com/1/0/27554/2201954/2_o.jpg" data-mid="11006029" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2201954/3.jpg" width="670" height="444" width_o="1440" height_o="955" src_o="http://payload.cargocollective.com/1/0/27554/2201954/3_o.jpg" data-mid="11006070" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2201954/4.jpg" width="670" height="444" width_o="1440" height_o="955" src_o="http://payload.cargocollective.com/1/0/27554/2201954/4_o.jpg" data-mid="11006091" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2201954/5.jpg" width="670" height="444" width_o="1440" height_o="955" src_o="http://payload.cargocollective.com/1/0/27554/2201954/5_o.jpg" data-mid="11006102" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2201954/6.jpg" width="670" height="437" width_o="1440" height_o="940" src_o="http://payload.cargocollective.com/1/0/27554/2201954/6_o.jpg" data-mid="11006122" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2201954/7.jpg" width="670" height="444" width_o="1440" height_o="955" src_o="http://payload.cargocollective.com/1/0/27554/2201954/7_o.jpg" data-mid="11006167" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/2201954/8.jpg" width="670" height="440" width_o="1440" height_o="947" src_o="http://payload.cargocollective.com/1/0/27554/2201954/8_o.jpg" data-mid="11006220" border="0" align="left"/> http://sara-naim.com/2201359 http://sara-naim.com/following/sara-naim.com/2201359 Tue, 25 Oct 2011 11:57:23 +0000 Sara Naim 2201359 http://sara-naim.com/2201345 http://sara-naim.com/following/sara-naim.com/2201345 Tue, 25 Oct 2011 11:54:41 +0000 Sara Naim 2201345 http://sara-naim.com/THESIS http://sara-naim.com/following/sara-naim.com/THESIS Tue, 13 Sep 2011 21:04:35 +0000 Sara Naim 1998808 LONDON COLLEGE OF COMMUNICATION UNIVERSITY OF THE ARTS LONDON SCHOOL OF MEDIA SARA NAIM BA (HONS) PHOTOGRAPHY DISSERTATION 2010 TUTOR: EDWARD DIMSDALE WORD COUNT: 8846 A SILENT RESISTANCE: HOW CAN THE QUALITIES OF LIGHTNESS AND DARKNESS BE UNDERSTOOD AS PRODUCTIVE TO THE SPIRITUAL IN ART? CONTENTS List of Figures 3 Introduction: 4 The Silent Resistance Chapter One: 8 The Qualities of Lightness and Darkness in Relation to the Human Observer Chapter Two: 16 The Eastern Understandings of Lightness and Darkness Chapter Three: 24 The Western Understandings of Lightness and Darkness Conclusion: 36 Understanding the Qualities of Lightness and Darkness as Productive of the Spiritual in Art Appendix 38 Bibliography 41 LIST OF FIGURES Figure 1 Tzu, L. Date Unknown. Yin Yang. [Symbol]. China. In: Cooper, D. 1998. 17 Spirit of the Environment. London : Routledge. Figure 2 Anonymous. Mid-2nd Century B.C. The Banner of Mawangdui tombs. 21 [Painting on Silk]. Changsha. In: Tregear, M. 1997. Chinese Art. New York City : Thame & Hudson. Figure 3 Jahan, S. 1657. The Cup. [Jade stone]. North India. In: Skelton, R. 1978. 22 V&A Masterpieces series. London : V&A. Figure 4 Anonymous. 1100. The Transfiguration. [Mosaic]. Church of Daphni, Greece. 29 In: Gage, J. 1999. Colour and Meaning. London: University of California Press. Figure 5 Anonymous. 560. Tablets of the Law [Mosaic] Church of St Catherine’s, 31 Sinai. In: Gage, J. 1999. Colour and Meaning. London: University of California Press. Figure 6 Matisse, H. 1914. The French Window – Collioure. [Painting] Centre 32 Pompidou. In: Morisset, V. 2005. Henri Matisse http://www.centrepompidou.- fr/education/- ressources/ens-matisse-en/ens-matisse-en.htm#image2. (7 February 2010). Figure 7 Matisse, H. 1915-16. Gourds. [Painting] MoMA, New York City. In: 2010. 33 The Collection. http://www.moma.org/collection/browse_results.php?object- _id=78817. (12 February 2010). INTRODUCTION THE SILENT RESISTANCE Johann Wolfgang von Goethe, a highly influential colour theorist, formulated an experiment in 1808 in order to better understand the qualities, perception and experience of lightness and darkness: Have a black object held before a grey surface, and have the spectator, after looking persistently at it, keep his eyes fixed as it is taken away. The space it occupied appears much lighter. Have a white object be held in the same manner. Once it is taken away, the space it occupied will appear much darker than the rest of the surface (1970, p.8). Goethe believed that every living form shows what he called a ‘silent resistance’ to the state of anything absolute. In this case, the ‘absolute’ was the black and white object over the grey surface, and vice versa. The resistance was the eyes’ craving for brightness when receiving darkness, and their demand for darkness when overwhelmed by brightness. This demonstrates the eye’s profound ability to perceive what is lacking at sight and to acquire its opposing state (Goethe 1970). Goethe called the effects of harmonization between opposites, or colour-polarity, a ‘universal formula’ which encompasses not only the impressions of black and white, but also sprouting seeds from the earth and their inevitable fall, the elements of male and female, and the likes of spirit and matter. He elaborates this to say, True observers of nature will agree that all which presents itself as appearance, all that we meet with as phenomenon, must either indicate an original division which is capable of union, or an original unity which admits of division … To divide the united, to unite the divide, is the life of nature; this is the inspiration and expiration of the world in which we live and move (1970, p. 161). Goethe’s theories reached far beyond the realm of colour, believing notions of lightness and darkness were inherent in all other life forms. In this sense, both ends of the tonal range come together in an almost spiritual fashion, where everything, whether it be art of the East or West, from the 6th century to the 16th, will abide by the universal formula: The silent resistance. Understanding that such a resistance exists will help one to see more clearly the implicit truth in all living forms. ‘Seeing’ is not, however, defined solely by social norms, but is also determined by the will of the individual to enter into that world of mind and matter. It must be stated that this ‘seeing’ involves more than simply the physiological qualities of sight, as it includes perception (the act of sight through physiological or psychological means); experience (that which the observer digests as a sensation of sight); and most importantly, understanding (absorbing the perception and experience of sight and adapting the following into a form of knowledge). Writer John Berger discusses seeing in his novel, ‘Ways of Seeing’, It is seeing which establishes our place in the surrounding world … The way we see things is affected by what we know or what we believe … We are always looking at the relation between things and ourselves. Our vision is continually active, continually moving, continually holding things in a circle around itself (Front cover-1, 1972). So, what if we moved that active vision towards an antithetical direction, would our vision’s circle widen? And suppose we do broaden our understanding of sight to the insights of another, will the relationship become more dynamic between object and subject? I will put this into context of two almost antithetical societies- that of the East and West. In my dissertation I describe the East and West’s spiritual belief systems as a means to discuss the ways in which two unlike cultures perceive, experience and understand, in the broadest sense, qualities of lightness and darkness, and their applications to various art practices. The use of lightness and darkness in my dissertation is not limited to the tone within colour, but rather I use the term for all the qualities it subsumes and its embodying notions. To discover how and why societies see the way they do helps identify the intrinsic qualities that manifests their cultural values, belief systems, artistic styles and, more generally, their ways of living. As a brief example, the East, widely influenced by the ancient Taoist philosophy of Yin and Yang, see polar opposites as a unifying form, of which the two sides exist within one another. This is evident in the harmonious use of lightness and darkness within, for example, their home’s interior design, material paintings or jade carvings. The West, on the other hand, often find polarity as a form of duality, a fact that is most evident in its most prominent religion, Christianity. Hierarchy is practiced in this religion with the division between creator, creature and foe. These beliefs and values are also translated through their use of tone within, for example, ancient mosaics and canvas paintings. Spiritual philosophies often dictate how one may see, and, implicitly live, by their profoundly influential power and mass of followers, among other attributes of religious systems, to drive the dictations of experiences, attitudes and lifestyles. There are far more parts to the sum than the naked eye can see when perceiving, experiencing and understanding lightness and darkness; elements of the whole stem from deep within our consciousness, the world of physics, and from historical art and philosophy. This paradigm warrants an investigation within the spiritual, physical and quantum physical realms for us to better understand the dynamic interplay between the lightness and darkness and its application within art. The analysis below is an attempt to answer the following questions: First, to what extent does our society’s values and belief systems influence our individual understandings of something as subjective as a colour’s hue and tonal value? What are the intrinsic qualities of lightness and darkness? And further, how can these qualities be understood as productive of the spiritual in art? These questions will be investigated by looking firstly, in chapter one, at the various elements and functions of sight when perceiving lightness and darkness (including the physiology of sight, the perception, experience and comprehension of lightness and darkness, and the personal, conscious domain in which it is viewed- which involves studying subjectivity, physics, and time and space). Chapter two will explore the East’s most prominent spiritual belief systems (including Taoism, Buddhism and Hinduism), and how they have been productive of their understandings of lightness and darkness within their art practice. Similarly, chapter three will look at how Christianity, the West’s most prominent religion, has been productive of their understandings of lightness and darkness within their art practice. CHAPTER ONE ELEMENTS AND FUNCTIONS OF SIGHT AND TONALITY PHYSIOLOGY OF SIGHT It is important to discuss briefly how the eye views a scene. Although much of how we see is relative to subjectivity, the physiological aspects of sight are not. If the human eye functions as it should, every human being physiologically sees the same way 1. The human brain, particularly the brain’s cortex, is extensively devoted to vision, evident from the visual beings that we are. The number of neuronal groups that respond to visual stimuli represents a large fraction of the neuronal groups participating in the operational system which underlies conscious experience … This implies that, everything else being equal, conscious sensory experiences are especially vivid, while conscious thoughts are not (Edelman and Tononi 2001, p.169). This fact identifies the prominence of the physiology of sight and its role in the human’s conscious experience, of which Goethe’s experiment identified, by illustrating the physiological composition of the retina and its reaction upon lightness and darkness. After the retina is exposed to such lightness or darkness, it is in two entirely opposing states from one another, and, fascinatingly, in either state one can immediately observe the full tonal range within all varieties of hue. This experiment also showed that when two opposite tones create such a phenomenon, rather than the sequence destroying one tone over another, it presents a third state, exemplifying a threshold of unity between the two. From this situation, two types of contrasts occur: a basic contrast, and a deepened contrast. The complex of contrast is furthered by Goethe’s findings: “No contrast of colour with colour or even of colour with black or white can be so great (as regards to lightness or darkness) as the contrast of black and white…” (1970, p.199). However, this ultimate contrasts proves to be unattainable as “light is in every case lighter than black and darker than white”, due to it’s non-absolute quality, making all colours ‘half-lights’ (Goethe 1970). If black and white creates the deepest of contrasts, which he mentioned as impossible, then light itself proves its inability to create anything whole, in this example a whole darkness or a whole lightness. Predating Goethe’s findings, however, the ancient Greeks and Romans, around mid 300 BC, also found this reciprocal and dynamic action between two contrasting elements. They attained all colour from white and black, or from light and darkness, and the rest created from these qualities. Goethe discusses this in his ‘Theory of Colour’, and suspects that they were only discussing atomic, spectral mixture, although, he says, they often use words such as ‘union’ and ‘combination’ in their writings when examining this mutual and complementary action of two contrasts. Within this time, the Greek philosopher, Aristotle, became aware of the silent resistance of which Goethe records and asserts over 2,000 years later. He noticed that hue was always amalgamated with other hues and that colour would never be seen in a pure state. Further, Aristotle saw that the action of light and shade on a hue also modified its tone, thus even if it were to be unaffected by other colours, its own appearance would remain in constant flux (Goethe 1970). The colour which an object encompasses is thus also ever-changing as it is subjective to the viewer, whose perception of light falling off an object is affected by his or her own variant nature of time and space. CONSCIOUSNESS Our own private consciousness is, in a profound sense, all there is. The flattened dome of the sky and the hundred other visible things underneath, including the brain itself – in short, the entire world- exist, for each of us, only as part of our consciousness, and they perish with it (Edelman and Tononi, 2000, p.2). Consciousness must be discussed to better understand how one may see, as it is consciousness that allows the attainment, apprehension, and appreciation of the experience of sight. Conscious states are different for every being, but its general and fundamental principles are common to all; including principles of unity. For one, no conscious state can be separated into independent segments, but must be experienced in its entirety. This principle describes the conscious’ inability to perform multiple tasks that both require its full attention, exemplified by driving a car and manually calculating advanced mathematics. Another principle of the conscious experience, although seemingly contrastive, is its capability to distinguish and inform. In fact, in just a fraction of a second, one of billions of possible states of consciousness are chosen at any given time. Thus, the dynamics between the fragmented and the unified become paradoxical; the conscience must balance its affluent and complex demands whilst remaining in total unity (Gerald and Tononi 2000). Energy and matter are not the only two elements united to form conscious thought; meaning has a stance in the process, too. There is a set of relations between the material aspects of the brain, where the mechanisms and actions take place, and the immaterial aspects of the brain, where the mind concerns itself with the process of meaning. These processes are completely reliant on one another and work only if they do so harmoniously: “There are no completely separate domains of matter and mind and no grounds for dualism” (Edelman and Tononi 2000, p.219). This quality of intrinsic unity is, once again, at the heart of Goethe’s ‘universal formula’, where two elements are in constant flux and need one another to work in their complete and true form. “Each waking day is a stage dominated for good or ill, in comedy, farce, or tragedy, by a dramatis persona, the ‘self’. And so it will be until the curtain drops…although multiple aspects characterize the conscious self, this self is at unity” (Edelman and Tononi 2000, p.23). Individualistic and collective states of being are often described as consistently integrating information to form a meaningful whole. This ‘whole’ is characterized as the ‘self’, the unified conscience that absorbs perception and experience, but which is also more than the sum of its distinctive qualities. This notion is parallel to that of Goethe’s contrastive polarities, which produces a third and richer tone, portraying it, too, as more than the sum of its parts. The subjective self and all its characteristics have become an integral aspect within the scientific analysis of consciousness. Scientists and philosophers, however, identify a ‘problem’ within its analysis. Lets say that a blue strip of light enters the veil of tears on the forefront of the eye, hits the cornea, runs through the iris and the virteous humour, up to the optic nerves signaled by the rods and cones, and finally transmits visual signals which lead to the visual center in the back of the brain. This all occurs for one to consciously distinguish the blue light. However, this act of seeing is subjective and completely other to the mechanical act that happens prior to and simultaneous to the subjective experience, where each individual perceives this light in a significantly distinct manner. Philosophers commonly use the name ‘qualia’ to discuss “an introspectively accessible phenomenal aspect of our mental lives” (Dennett 2006, p.78). Although the process of sight is largely physical, there remains a subjective quality, or ‘quale’, which must be considered to discuss how it is that one sees. Philosopher Bertrand Russell and Charles Sherrington noticed that a neurophysiological description of neurons firing when observing, say, the blue light, could be exactly quantified and expressed, and yet, a mystery remains: “Why would the physical, objectively describable fact that a certain neuron is firing correspond to a conscious sensation, to a subjective feeling, to a quale?” (Edelman and Tononi 2000, p.159). The mystics of this leave scientists and philosophers disquietingly uncertain about the human consciousness. The fact that only an individual has contact to these intimate experiences, which not even description can satisfy, attributes the experience of sight as something unidentifiable, and almost transcendental 2. In the same sense that Aristotle said, “Colour would never be seen in a pure state”, no state of a human being could ever be quantified to, or fully understood by, another observer. Here, the solely personal and mystic quality that lies within the consciousness of every being becomes an equation in the ‘universal formula’. Harmony is thus found between both lightness and darkness, and between the physical and the metaphysical self. PHYSICS Physics, deriving from the Greek word ‘physis’, means the “endeavor to see the essential nature of all things” (Capra 1982, p.21). Physics was an integral aspect of colour theory from as far back as 850 BC from the time of Aristotle’s colour mixture investigations. One of the most important aspects of modern physics, which is evident at the atomic and subatomic particles level, is that the components of matter are all a network of an interconnected and mutually dependent whole (Capra 1982). In subatomic physics, quantum theory forces one to understand the universe not as a collection of physical objects, but rather as a complex meshwork between the diversified whole. The universe is a boundless form with interwoven galaxy clusters, connected by nebulous strands that encompass areas of voids. The universe’s unified, interconnectedness is central to reality (Ouellette 2009). This aspect of physics is in dialogue with the fundamental principles of the conscious state, contrastive colours, and thus the ‘universal formula’. At the atomic level of matter, this interconnection exists, too. It seems as though matter acts as both waves and particles, where in some cases the particle form is in effect, and in others matter takes the form of waves. Electromagnetic radiation also exhibits this binary feature. When photons, or light which is transmitted and absorbed, travel through space, they present themselves as magnetic and electric vibrating fields, showing all inherencies of waves. Electrons are typically proven to be particles, and yet if a beam of these particles pass through a small opening it becomes diffracted exactly as a beam of light would. Thus, electrons, too, function as waves (Capra 1982, p.164-5). The fact that matter performs in a reciprocal manner, where particles are waves and waves are also particles, has been a difficult concept for physicists to affirm. Being a probability pattern, an atomic particle can never be said to be in a certain place at a certain time, but nor can its existence be denied. When an attempt is made to measure the particle’s state, it transpires that it does not have a distinct momentum, and when an attempt is made to find the measurements of its momentum, it transpires that it does not have a distinct position (Capra 1982). These juxtaposed physical realities create a strange flux between its existence and non-existence. Similar to how the intimate experience of qualia cannot be described or identified in an area within the brain, the particle or wave’s indefinite nature cannot be described or measured to a fixed position. It is evident that scientists become collaborators in the world that they investigate, to the extreme point where they begin to influence the characteristics of the observed matter, rather than being disengaged, objective observers. Objects are seen as patterns of probabilities that, in the end, always lie in the consciousness of the human observer. These patterns, however, do not represent probabilities of substance, but rather probabilities of interconnections. The observer interacts with objects to create sensations that form a reciprocal act between nature and him or herself. Modern physicist John Wheeler has suggested replacing the word ‘observer’ with the word ‘participator’ for future descriptions on the topic of quantum theory, saying it is this feature which is most important in the quantum world (Capra 1982). “What we observe is not nature itself, but nature exposed to our method of questioning” (Heisenberg 1958, p.58). This mutually exclusive act of the atomic structures and subatomic particles are not unlike the interaction between observer and object of colour. Tonality is an effect of electromagnetic fields or light, causing a sensation of sight, but it is not imbedded in substance or within the object of which the observer gazes. This act of sight is a variable that is reliant on the reaction of the observer’s subjective nature. Observers employ their personal entities of past experience, individuality, connotations, and all of which is embedded in their subjective domain, to interpret the object’s tonality and become, as particle physicists would put it, active participators. Sight is not only contingent to qualia at the atomic level, but is according to the physical dimensions of time and space, too. In modern physics, time and space are used as tools to better understand nature, as all matter has attributes of motion and change. It was known even before Einstein that the location of an object in space can only be characterized in respect to another object, thus, making all space and time analysis relative. And since time and space are subject to the viewer’s use of language to describe the elements of matter, each would speak of the experience in various ways, confirming its relativity. This demonstrates the extremely elusive process of perceiving (physiologically and subjectively), experiencing and describing the phenomenology of an object at sight. On the basis that light requires time to travel from the watched object to that of the beholder is another considerable relation to the relative attributes of experiencing sight. Considering it takes time and space for light to travel from its source, off the object and into the virteous area of the eye, leads to the conclusion that one may never see any form in its true and present state 3 (Capra 1982). This act agrees to Aristotle’s findings where hues can never be seen in their pure state: Colour is never pure or static, but always relative to the movement of the viewers as they change their own time and space. Goethe’s silent resistance of anything absolute is here demonstrated, where our strife to see the universe in its true and present state can never be satisfied. Perhaps the only way to see and understand time and space in its true form is to embody it. If observing an object requires light, space and time, all of which are relative to both the object and the viewer, then the conscious self seems to be the only eliminator of any relative aspect. CHAPTER TWO THE EASTERN UNDERSTANDINGS OF TONALITY The ancient East did not necessarily use physics for its precise measurements but rather as a tool for life’s endeavors, using the term as originally defined by the Greeks: To discover the essential nature of all things. The fundamental elements of Eastern philosophy and understandings are in many ways synchronized with that of modern physics. Eastern spirituality consists of religious and philosophical beliefs, mostly influenced by Buddhism, Hinduism and Taoism. Each of these belief systems may differ in spiritual exercises or philosophical teachings, but their basic understandings and worldly outlook are inherent to all. They inspire each to unite themselves with all that exists by surpassing the misconception of the separate self, and preach the fundamental oneness of the universe. This interwoven existence is defined as Tao in Taoism, Dharmakaya in Buddhism, and Brahman in Hinduism (Capra 1982). In Eastern philosophy, notions of space and time are not genuine truths, but rather illusory creations of the mind that are relative and confined. For this reason, physics and geometry were not as developed as they were in ancient Greece. However, much of the Far East did extensively practice physics and had great knowledge of it, utilizing its principles by, “building alters of precise geometrical shapes, in measuring the land and mapping out the heavens, but never to determine abstract and eternal truths” (Capra 1982, p.179). This viewpoint and practice is also mirrored in the Ancient Eastern scientific approach where they usually did not find it important to confine and measure nature as a system of perfect circles and defined lines. The Chinese are largely influenced by the ancient philosophies of Taoism, which describes the world as a continuous force of flow and change, where everything exists in harmony. The Taoists see these dynamics as an outcome of the interplay between two polar opposites, called Yin and Yang. Because Yin and Yang depend on one another, they cannot be placed independently in nature as they would not exist in their true form (Tzu 1963). These notions are symbolized by the Yin Yang (Figure 1). The two sides of black and white are not illustrated as absolute: The dark area contains a spot of light, and the light area a spot of dark. The two elements of force are intertwined and bound together within a unifying circle that harmoniously transforms and provokes one another. As depicted in the Yin Yang, the Taoist’s see black and white, negatives and positives, the physical and metaphysical, not as absolute, independent properties or experience, but as two contrasts of the same whole. Understanding this unity of all opposites is not only intrinsic to specifically Taoist or Chinese philosophy, but is one of the East’s most strived for ambitions in its spiritual practices (Tzu 1963). Yin and Yang puts into motion the silent resistance and the laws of physics, where just as time and space abide to the law of change, so does Tao in its unfixed, spontaneously moving position. The first Noble Path of which the Buddhist’s practice is to attain the ‘Right View’, or ‘seeing’ righteously. Seeing is an imperative element in Buddhism, and is said to be the foundation for all knowledge (Knierim 2009). The right view encompasses seeing and accepting nature’s ephemeral quality of flow and change, of which Buddha elaborates, “All things arise and pass away”. The Eastern understandings of sight’s value and their notions of nature’s ever changing quality is greatly applicable to Berger’s (previously mentioned) idea: “The way we see things is affected by what we know or what we believe … our vision is continually active, continually moving…” (Bergers, 1972, p.1). It is evident that Buddhism, like Taoism, has much in common with perceiving tonality (in relation to both time and space, and to the physiology of sight), and with the human consciousness. The flow and change of which Eastern spirituality discusses allows one to see the harmony between black and white. The two tones, when placed side-by-side, encounter the ‘silent resistance’ of the iris, as it demands more or less light to sustain the tone’s non-absolute quality. The third state, which is created from the tone’s opposition, is another parallel to Buddhism’s understanding of flow and change. Tone is not static, but flows from its contrastive opposition to create that of another, deepened contrast, the same way that the black and white areas of the Yin Yang symbol is not rigidly divided, but is separated by a flowing, non-static line. This flow and change is in conjunction with the relativistic fact of time and space (in relation to object and subject, where light and shade upon an object are continuously in motion, and thus, in constant change). The fact that our brain chooses one out of a billion potential conscious states to be in, in only a fraction of a second, is another Buddhist belief that exists in the physical form. Hinduism’s ‘Brahman’ 4, or, ‘the thread in the cosmic web’ and Buddhism’s main scripture, the Avatamsaka sutra, describes the universe as a perfectly interwoven system, where everything complicatedly works with one another, also described in a classical Chinese text dating back to the 3rd century BC, “Laws are not forces external to things, but represents the harmony of movement immanent in them” (Wilhelm 1968, p.68). This ancient script was written long before Hindus and Mahayana Buddhists had the facilities to investigate subatomic particles or the interwoven galaxy clusters and nebulous strands to discover the interconnectedness of the universe. Perhaps they were able to fathom these notions of interconnectedness, not through laboratory observations or other advanced scientific means, but by observing their own physical reality, including the harmony of lightness and darkness, time and space’s flow and change, and by controlling the state of the conscious mind. In Eastern spirituality the discovery of the universal connectedness requires a conscious, human observer, which stands true for atomic physics. The observer in both cases becomes the participator within the patterns of probabilities, which creates sensations that form from the reciprocal act between nature and the self. THE EAST AND ART The Japanese, like many in the East, traditionally consider their use of tonality with care and value its harmonious quality, even enough to make it a prime feature within many of their homes. Japanese rooms are said to be subservient to shadows contrasting against one another, where heavy shadows fall upon light shadows to create their home’s simplistic quality. Writer Junichiro Tanizaki discusses the Japanese’s use of shadows in his book, ‘In Praise of Shadows’: Rather than preferring polar ends of the tonal range, most appreciate all that lies in between. The beauty of shadows lies, in part, within their neutral-coloured walls. As the light departs from day, the remains “Sink into absolute repose … leaving a pale glow and dim shadows which far surpass any ornament” (2001, p.30). They create art through their recessed space from the delicate nature and use of shadow and light. … When we gaze into the darkness that gathers behind the crossbeam, around the flower vase, beneath the shelves, though we know perfectly well it is mere shadow, we are overcome with the feeling that in this small corner of the atmosphere there reigns complete and utter silence; that here in the darkness immutable tranquility holds sway (2001, p.32). Tanazaki compares the West’s preference in housing quality by observing that Western architects and engineers appraise sunlight, and build and shape their houses to allow as few shadows as possible. He adds that the West often discuss the mysterious qualities within Japanese homes, where they are likely referring to this unusual stillness that dark places possess. “If the shadow were to be banished from its corners … the alcove would in that instant revert to mere void” (2001, p.33). This stillness becomes the essence of the observer’s experience, where the overwhelming darkness stimulates and provokes the observer to transcend the qualities of mere spectator, and become a participator with the shadows. The same way that matter is influenced by and relies on the consciousness of the human observer, this silent darkness depends on the participator to immerse oneself and appreciate what is at sight. The sensation of sight, as said above in relation to quantum theory, is a reciprocal act between nature and oneself. The corners of paper panels, which decorate and divide various rooms, are used as shadow and dust’s den: The shadows at the interstices of the ribs seem strangely immobile, as if dust collected in the corners had become a part of the paper itself … The light from the pale white paper, powerless to dispel the heavy darkness of the alcove, is instead repelled by the darkness, creating a world of confusion where dark and light are indistinguishable (Pg. 35, 2001). This treatment of light and the interpretation of its outcome reflects much of Eastern philosophy. Tanazaki’s indistinguishable, ‘world of confusion’, Taoist’s notions of Yin and Yang, Brahman’s attitude of interconnectedness in Hinduism, scientists’ experiment of quantum particles, Goethe’s silent resistance, and the principle’s written in Buddhist’s Avatamsaka sutra, all discuss nature’s non-absolute state, where lightness and darkness, or more broadly any other form of matter, are interwoven, and where their polarities are in constant harmony. A different medium of art, white jade, a stone with radiance and depth, is carved by Shah Jahan of India in 1657 with extraordinary craftsmanship. The sculpture (Figure 2) curves to create convex and concave shapes that embody full and deep tones of murky white. It employs a “seductive appearance” with concealing anonymity by its detailed carvings, juxtaposed with its Figure 2: Shah Jahan, The Cup, 1657. illusive and translucent surface. The anonymity furthers by the inanimate of the object and its unity with the organic subjects of a flower and a goat’s head. The light seems to have collected inside the jade to create clouds of shadow, leaving just enough rays to emanate forth for its pearly luster to emerge. Tanazaki’s described light which “Sinks into absolute repose” here follows, to create an almost dark white from the resting light. The Han dynasty in Ancient China was during the time of Buddhism’s birth, around the mid-2nd century BC, when a silk painted banner was placed in the Mawangdui tombs of Changsha in the Hunan province, (Figure 3). This hanging was discovered on the coffin of a woman who is depicted in the banner’s center. The top area of the banner represents the heavens, the middle area describes the earth and the bottom speaks of the seas or underworld (Tregear 1985). Not only are all three sequences of life united, but also the portrayals of the mystical world and of the physical world are both given equal significance and are depicted as equally real. The painting unites the often-juxtaposed scenes of the imaginary and real world, or of the mythologies and humans, which became characteristic of the Han dynasty era. The funerary banner has a very earthly feel due to its tonal gradations of red, to form various shades of browns, oranges and yellows. The piece is quite symmetrical in both pattern and form, physically employing qualities of sameness, and having much in common with the concept of unification, implemented by the banner’s subjects and tone. The T-shape banner aesthetically connects itself to that of a Christian crucifix, a spiritual symbol connoted to sacrifice, life, death and the after-life. It also seems to lend itself towards these notions with the fact of the banner’s resemblance to the human form, its tomb location and red hue. Considering Buddhism was at its early form, and the Taoist’s continuing influence in China, this hanging seems to hold much of Eastern mystic qualities, and thus attributes of lightness and darkness. It embodies the Tao, Dharmakaya, and Brahman by illustrating interwoven existences. The spiraling and weaving fashion of the dragons further amplify this notion. The composition of the work allows the viewer to move from the foreground, or the underworld, up to the area of the heavens, where the scene can be read from any position. There is no specific focal point, nor is there one eye level or viewpoint. This compositional strategy plays on the thematic choice of the artist, to further apply this notion of unity. The qualities of lightness and darkness- harmonization, space and time, the provoked third state, the Self in which it is viewed- all becomes productive of the spiritual in this banner. CHAPTER THREE THE WESTERN UNDERSTANDINGS OF TONALITY Western spiritual beliefs are very much in parallel to the values and approaches they apply to modern physics. The development of physics began in Greece during sixth century B.C., where philosophy, religion and science were inseparable. During this time, teachers of Greek schools of thought aimed to find the real composition of things, previously defined as ‘physis’, which was similar to Aristotle’s aspirations in 850 B.C. in regards to colour. The practitioners with this ambition were called ‘Hylozoist’, meaning, “those who think matter is alive”, and saw no separation between the living and dead, or spirit and matter 5 (Capra, 1982). Around the same time, Greek philosopher Heraclitus preached that pairs of opposites were a unit and that all changes arise from opposition’s complex and constant reciprocity. His beliefs were utterly parallel to those of the Taoist’s notions of Yin and Yang, and considering Taoism developed roughly around the 3rd century B.C., perhaps Taoism was influenced by his ancient teachings. Not long after, however, the Greek School of Eleatic found spirit and matter to be two separate entities: [They] assumed a divine principle that stood above all gods and men. This principle was first identified with the unity of the universe, but was later seen as an intelligent and personal god who stands above the world and directs it. This began a trend of thought that led, ultimately, to the separation of spirit and matter and to dualism which became characteristic of Western philosophy (Capra 1982, p.25). This dualistic interpretation of physics began the split of Eastern and Western philosophical beliefs, where their use of tone within art, understandings of consciousness and the body and mind, thus too, became autonomous. Many centuries later, Rene Descartes reiterated the West’s new mentality, where he, along with many others, formed a school of thought called the Cartesian Split. They believed nature to be comprised of two distinctly different and independent realms: That of matter and that of mind. Their philosophies were central to the development and outcome of classical physics, where time was understood as an independent and self-sustained dimension that travels in a linear fashion, completely separate to the material world. Space was also seen as an absolute, three-dimensional realm, disassociated with the material objects of which it embodies. The concept of unity in space and time, or in matter and spirit were now seen as completely foreign and incredible (Capra 1982). This new philosophy of duality soon materialized into the worldly influential and dominant Western religion, Christianity. Christianity6 follows the Greek School of Eleatic’s philosophy of spirit and matter dualism: Appointing Christ as the Son of God, his body rose into heaven after death where He and God rule and govern the world below. Many of the Holy Bible’s teachings come from a rational and logical basis where, unlike the East’s belief of the cosmic interplay, it explains a linear understanding of life and the universe. The Bible further notes that the world can only be perceived in a finite manner due to its reliance to a separate existence, which lies far beyond ones own apprehension (The BBC 2009). This bound and non-absolute understanding of the universe mimics the fact that no human being’s state of consciousness could ever be quantified, and thus could not be fully understood to another observer 7. Perhaps that seat of the being’s conscience is the only position in which observing the silent resistance becomes possible, as it is consciousness which attains, apprehends and appreciates the subjective experience of sight. If one sees and experiences through a personal and relative sense of time, space, and quale, then the Christian reliance to a separate existence far beyond ones own apprehension becomes in paradox with this Self. This paradox leads to various questions: Does the fact of unattainable knowledge, the unquantifiable conscious self, and quantum theories constant predicaments, manifest itself into a silent resistance? And more generally, is everything a silent resistance? Perhaps the tension of resistance can become so ‘silent’, as demonstrated in the Christian lack of self-dependency, which thus binds them to a “separate existence far beyond ones own comprehension”, that the resistance cannot even be heard, acknowledged or experienced. It creates a notable and fathomable tension if it is looked at through the light of harmony, rather than duality. One of the opening lines in the Bible (Genesis 1: 3-5) describes the world’s creation: God said: let there be light! And there was light. God saw the light: that it was good. God separated between the light and the darkness. God called the light: Day! And the darkness he called: Night! (Reeve 2007, p.177). The first line of this composition describes God’s superiority where once he commands an action, the action occurs. The second and fourth lines seem to indicate a symbolic usage of tonality, where He refers to light as ‘good’ and ‘day’, and dark as ‘night’. The third, saying, “God separated between the light and darkness” suggests absolute and independent contrasting tones. Considering that this piece of writing describes the world’s creation, it almost inspires the future and progression of the Christian faith to be interpreted and founded on the four things that it describes: hierarchy, categorization, division and duality8. These qualities are very much integrated into the Western way of living. Division becomes helpful to manage various tasks and situations; however, it has become so highly valued in the West that it is seen as a principle attribute of reality. The East finds these attributes as abstract idea created by our habitually categorizing and discerning minds and not true forms of reality9. In the Bible, Jesus ascribes resurrected humans as being “akin to Angels”, where religious studies professor Christopher Moreman interprets Jesus was defining the resurrected one as being both ethereal and embodying a physical presence as a result of his completed, life missions. The Catholic doctrine, however, suggests the dynamics of matter and spirit differently. It translates Jesus’ epilogue about angels as being “Pure spirits, incorporeal substances, free and independent from any material body, ethereal or otherwise” (Moreman 2008, p.57). This contradictive understanding is one of the key aspects of religion; the dynamics of interpretation. This example of the Catholic doctrine and Moreman’s contrastive interpretation of the same passage, demonstrates the distinctively different understandings of a single form. This notion of interpretation is not only fundamental to religion, however, but is also susceptible to any subject that views lightness and darkness. As previously described, philosophy and physics have been so interlinked in the West, since the time of Ancient Greece until the present day. But because modern physics has unveiled yet further mysteries regarding all matter, and in many cases resolving itself through the notions of interrelations and unity, the gap between Western and Eastern spiritual beliefs is tightening 10. Modern physics, established around the early 20th century, is predominantly practiced in the West and is very closely linked to Eastern thought. Scientists have observed that matter of the atomic world heavily base their constituents and actions upon movement, change, and transformation, and consider particles as “transient stages in an ongoing cosmic process” (Capra 1982). Both modern physics and Eastern philosophy regard these processes as initial and most intrinsic attributes of nature. This mirrors lightness and darkness’s inherent characteristics of movement and transformation, which is practiced in the example where two contrasting tones lie against one another to create its third contrastive state, and is furthered by a fully visible tonal spectrum. The banner from the Han Dynasty also demonstrate the notion of the transient through its subject matter of death and the afterlife, as did Jahan’s jade, where the light’s position spoke through its trapped and emitting rays. Both concur to the Buddhist saying, “All things arise and pass away”. THE WEST AND ART Figure 4: Anonymous, The Transfiguration, 1100. During the Middle Ages, blue was a hue that was often used to create spiritual art, such as The Transfiguration (Figure 4), which sits within the semi-dome mosaic of St Catherine. It was said to be the hue of a double agent, representing both lightness and darkness (Gage 1999). The mandorla surrounds Jesus in darkness and progresses into lightness, exactly the opposite of what would be expected from a light-giving source, where its effect grows less strong the further its rays continue (Gage 1999). This light that emits onto the Saints seem to carry forth its pale blue edges onto their robes, as though to illustrate that they have been touched by Jesus’ heavenly blue light. In the twelfth-century Nikolaos Mesarites from the Church of the Holy Apostle comments on the mosaic’s use of lightness and darkness: The space in the air supports a cloud of light and in the midst of this bears Jesus, made more brilliant than the sun, as though generated like another light from his Father’s light, which, as though with a cloud, is joined to the nature of man… (Gage 1999, p.74) The ‘cloud,’ which is most often connoted to a form of darkness, is described as a source of light of which Jesus is submersed in. Clouds may surpass the strength of sun’s rays, but Jesus’ brightness proves greater than the power of the clouds. His brightness is so bright, that it even reaches and unifies Him to man. “Darkness were about Him and the light produces this cloud [of darkness] through the transformation of the higher nature to the lower… (Psalm 96-7: 2).” The silent resistance within ‘The Transfiguration’ is found by describing lightness as the product of darkness. The cloud, an ever transient and ephemeral cluster of lightness and darkness, becomes a metaphor for the non-absolute, and occurs through its unification of the divine and man. In the Gospel (17:5,6) Matthew accounts the aftermath of the Christ’s appearance within the clouds to the Apostles as “a bright cloud [that] overshadowed them”. Alongside Mesarites, Matthew admits to brightness as an inducement of darkness. The idea of God or Jesus as darkness was especially believed in the fifth century by Pseudo-Dionysius the Areopagite: “Intangible and invisible darkness … We attribute to the Light which is unapproachable because it so far exceeds the visible light … The Divine Darkness is the inaccessible light in which God is said to dwell” (Gage 1999, p.75). This passage expresses the unspeakable nature and lack of definite knowledge of light and darkness, echoing Tanazaki’s remark on the light of which white paper cannot dispel heavy darkness, but is “instead repelled by the darkness, creating a world of confusion where dark and light are indistinguishable”. The light’s resistance of becoming categorized into an area of lightness or of darkness takes place, and reflects a more modern physical approach of nature’s constituents of transformation and movement. Another piece of the mosaic (Figure 5), is an illustrated account that was described in The Old Testament where Moses “Went into that darkness where God was” in Mount Sinai to receive the Tablets of the Law (Exodus 20:21) (Gage 1999, p.75). God sits in the cloud of darkness and his hands emerge into the light to give Moses the Tablets. The conflicting notions of lightness and darkness persist to this segment of the mosaic; the most noble and divine form of nature, God, resides in darkness and the less hierarchal Jesus, though still ‘Divine’, subsumes in lightness, which is antithetical to the notions described in the opening passage of the Bible (Genesis 1: 3-5): “God saw the light: that it was good … God separated between the light and the darkness”. Though both God and Jesus are considered Divine, and obviously, ‘good’, it seems odd that Jesus is given precedence over God in its position to light. Perhaps the artist(s) of the mosaic interpreted lightness and darkness through their understandings and practice of the non-distinctive and indivisible qualities of the two polar tones, and, like Mathew, Mesarites and Dionysius, harmonized the two to exercise notions of the silent resistance, to present itself in a spiritual nature; through the light of God’s dark den, Jesus’ brilliance, the viewer’s Self, the mosaic’s tiles, the transformation and opposition of light and dark, to all come together to perform the silent resistance and the universal formula. In the late 19th century, colour theory became a key focus for many painters, including Henri Matisse. Much of Matisse’s work, such as French Window – Collioure (1914) and Gourds (1915–16), used tonality to describe his understandings of the qualities of light. He found particular interest in black, which he believed to be a colour in its own right, and he, along with many of his contemporaries, found black, as well as white, to be apart of the colour spectrum (Gage, 1999). This notion of black as a light formed another complexity of understanding light: Black was, thus, not a colour of absolute darkness. Matisse began his extensive ‘black’ period with his French Window – Collioure (Figure 6), where “black is offered as a subject in this canvas more radically than in any other work by Matisse” (Gage 1999, p. 204). The centred blackness seems to stare unrelentingly at the viewer, forcing the viewer’s reciprocal gaze into a silent and empty space. The room is somehow made aggressively luminous, as though brightness underpins the intensity of the blacked-out room. Matisse’s sizeable painting will instigate a heavy and long-lasting after image, not of darkness, however, but of lightness. The eye resists being overwhelmed by darkness and demands its opposite in a manner that stays true to Goethe’s findings. Matisse beautifully uses the qualities of lightness and darkness to produce the universal formula of the silent resistance. Matisse dates Gourds (Figure 7) as the true start to his use of black light, claiming, “In this work I began to use pure black as a colour of light and not as a colour of darkness” (Gage 1999, p.232). The tonal composition closely resembles that of the Tao’s Yin Yang symbol. Within the darkest area of the painting lies the brightest paint, in an almost circular shape, to diagonally parallel one of the darkest areas of the frame upon the lighter half of the painting. This innate and harmonic balance is not only due to its composition but is also felt through the juxtaposition of the objects themselves and their forms. The inanimate objects lie near the organic fruits, where in either almost no detail of material or gradation of tone is made apparent. Like the East’s silk banner, the flatness allows the eye to run along the surface of the painting, where the left to right, top to bottom, lies in unison with one another and is given equal attention and value. The lack of a defined direction of a light source confuses the context of space in Gourds. Apart from the silver jug and plate, light does not curve along any of the objects and background to allow the envisioned distance. The viewer seems to become lost in the painting’s own time and space, belonging to neither a two-dimensional nor a three-dimensional realm. This idea of time and space becomes similar to the notions of time and space to the East, where neither are considered genuine truths, and do not belong to formal and distinct laws. The painting, thus, also conforms to the East’s philosophy of nature as not “a scheme of straight lines and perfect circles” in his informal use of tonal definition and light. Matisse avidly followed French scientist Henri Poincare’s discoveries and philosophies, and applied them to his own work, particularly Poincare’s notions that, “Movement exists only by means of the destruction and reconstruction of matter … There is no absolute space, there is no absolute time” (Gage 1999, p.235). It is evident in both Gourds and The French Window of Poincare’s influence on Matisse’s work. The antonymous destruction and reconstruction accounts for the polarity of lightness and darkness in the paintings, where when the tones harmonize, delivers flow and movement along the compositions. He also practices Poincare’s belief in the lack of the absolute through his use of light, as previously mentioned. Matisse strongly believed of an ‘inherent truth’ in the represented objects, which must be treated as a separate entity to their external appearances (Sullivan, 1973). He, like Goethe, the artist of the tomb’s banner, Tanazaki, and the mosaic artist, found the universal formula within forms that reached beyond objects, light or tone of a canvas, paper, room or mosaic. Many works of art greatly represent the mainstream of thought within a particular nation, exemplified by the silk painted banner and Tanazaki’s prose, which seems to precisely describe Eastern philosophies. Christianity was the prominent religion in the West during the creation of Matisse’s Gourds and The French Window - Collioure, and The Transfiguration, which so avidly involved lightness and darkness as a means to describe notions of harmony. However, this seems antithetical to the Christian faith’s predominant notions of duality. Perhaps the understanding of a unified spirit and matter in the West was always present, but proves the impossibility of defining and concluding to a single understanding with something as interpretive as spirituality. CONCLUSION UNDERSTANDING THE QUALITIES OF LIGHTNESS AND DARKNESS AS PRODUCTIVE OF THE SPIRITUAL IN ART In the examples I have given, lightness and darkness’ silent resistance becomes productive of the spiritual in Japanese interiors, The Banner of Mawangui Tombs, The Cup, The Transfiguration and Tablets of the Laws, French Window-Collioure and Gourds. The spiritual, however, is not limited to lightness and darkness’s qualities of harmonization, space and time, the provoked third state, relativity, or the unquantifiable conscious self in which it is all viewed. Lightness and darkness greatly surpass these constituents, to redefine Goethe’s universal formula and adds that the silent resistance does not only perform in every living thing, but that it is every living thing. To reiterate the explanation of the formula: “[It] presents itself as appearance, all that we meet with as phenomenon”. The universal formula or the silent resistance does not only present itself as appearance, nor does it require a form to exist. The universal formula or the silent resistance exists as the spiritual, being the animate and inanimate within every form. “The firm basis of knowledge on experience in Eastern mysticism suggests a parallel to the firm basis of scientific knowledge on experiment … It is obtained by watching rather than thinking; by looking inside oneself; by observation” (Capra 1982, p.34). Whether regarding scientific or general knowledge, understandings through an Eastern or Western perspective, all are grasped through observation and the spiritual and enigmatic attributes of experience. It is not only observing, or even participating with, what is at sight that allows one to perceive, experience or understand the silent resistance, but, along with the being of the silent resistance, is the being of the viewer. Qualities of lightness and darkness are productive of the spiritual in art because all forms encompass the spiritual, and lightness and darkness’ qualities are, too, eminent within everything. If seeing or observing really does, as Berger says, “establish our place in the surround world”, than consciously widening our vision and perspective would result in a more absolute and truthful knowledge of the animate and inanimate things around us. We would no longer “hold things in a circle around itself” but would rather situate ourselves within the ‘circle’, rather, be the circle, to see outwardly into an array of different philosophies, value systems, attitudes and methods of art making, to say the least. This unifying circle of the self would encompass, and be productive of, the spiritual, to become an intrinsic part of Goethe’s silent resistant and, thus, his universal formula. APPENDIX 1 The steps for a normally functioning, human eye to envision a scene are as follows: first and foremost, there must be light reflecting off an object. With the subject’s gaze on that object, the light enters the eye and reaches a layer of tears that coat the forefront of the eye. Beneath this area of the eye lies the cornea, which serves to focus the light. And held deeper beneath the cornea holds a transparent and moist circulatory system for the front part of the eye, called the aqueous humor. The aqueous humor constantly pressurizes the eye, helping to control the brain’s energy consumption. Light passes through this area and enters into the coloured part of the eye, called the iris, which controls the levels of light that enters the eye by its enclosed small muscles, which dilate and constrict its center point, the pupil. Light then continues through the lens, becomes focused, and is immersed in liquid by a jelly called vitreous. A light-sensitive tissue called the retina, where photoreceptors lay, surrounds the virteous. These nerve cells, including rods and cones, send signals that travel along nerve fibers to the optic nerve. The sensation of vision takes place when these bundles of nerves transmit the visual signals to the visual center, located in the back of the brain. This process, of light reflected from an object entering the eye, being transferred into signals and transmitted to the brain before finally being experienced as an image, takes only fractions of a second (Vision Channel 2002). 2 A scientific explanation of the neural workings that discriminate colour will not substitute the perception and experience of colour. A colour-blind person would not be able to experience colour based on a scientist or theorist’s description. Theoretical physicist, Erwin Schrodinger, concurs by simply saying, “No scientific theory itself contains sensations and perceptions” (Edelman and Tononi 2000, p.15). 3 This notion is exaggerated in the fact that if the Sun were to die, it would take roughly 8 minutes before we on earth would see the occurrence, this being the time that it takes for the light from the sun to reach the earth. This is even further affirmed when considering more distant planets and stars. 4 In Hinduism, ‘Karma’, is another important concept, describing the dynamic action of nature’s play. The universe in action is said to be constantly utilizing Karma, where all forms are dynamically connected, and respond to the law and cycle of cause and effect. The notion that every action has a reaction can also be applied to the reciprocal and dynamic action within the process of looking at contrasting hues (Capra 1982). 5 Fascinatingly, ‘matter’ was not even a word known to the Hylozoists, as they believed it to be the phenomenon of “the essential nature of all things”, or the ‘physis’ (Capra 1982). 6 Christianity is currently the world’s most widespread religion, counting the greatest number of followers in the West, and has forged their worldview for centuries. This is why I have only discussed one spiritual practice of the West whilst I discussed several for the East. 7 This also leads to a more general concept of the impossibility of ever attaining knowledge in its absolute form, which is understood by both East and West, although their interpretations are extremely different. Westerners, heavily valuing modern physics, are satisfied with estimations as results of natural occurrences. Eastern mystics, however, are not interested in approximation, but rather value ‘absolute’ knowledge of the universe. Understanding the universe’s interwoven qualities, they know that to explain one fact means, essentially, to explain how it is connected to all the others. Since this is impossible, the eastern mystics explain that not one single phenomenon can be completely affirmed. Non-absolute knowledge is also proven by quantum theory, where numerous mysteries lead to further unanswered questions (Capra 1982). 8 Christopher M. Moreman speaks of the Christian hierarchy and division between the individual Self and God, and the East’s unification of the two, in his book ‘Beyond the Threshold’: “The major Hindu tradition understands the experience as disclosing an actual identity between the individual self and the Universal Self. The three western theistic religions emphatically reject this view because they hold that there is a great gulf fixed between the creature and the creator and that the claim of identity with the creator is presumptuous and heretical. The Christian tradition accepts union with god, but interprets it only as volitional similarity and not as identity” (2008, pg.55). The realm of utopia above and the harrowing, hellish underworld is another system in Christianity that employs the quality of duality. It is also found in St. Paul’s writings in the New Testament, I Corinthians chapter 15, verse 44: “There is a natural body, and there is a spiritual body”. “Clearly, Paul indicates that the post resurrected man is fundamentally changed from his present state. The corruptible, physical body is dead and gone and in its place is a fresh, incorruptible spiritual body” (Moreman 2008, p.59). Here again, there is distinct hierarchy and categorization in the afterlife, which is very antithetical to the Eastern philosophy of spirit and matter, or even life and death (where in death reincarnation is a prominent belief). 9 Much of the East avoids the easily induced affections of categorizing and dividing by meditating to quiet, harmonize and center the mind. ‘Samadhi’, the Sanskrit word for meditation, means ‘mental equilibrium’, describing that to experience life’s fundamental unity, the mind must be in a leveled and tranquil state (Capra 1982). 10 Geoffrey Chew, a highly acclaimed and influential modern physicist, explains this tightening gap through his scientific investigations, specifically in his important break-through of the ‘bootstrap’ theory. This philosophy rejects the law-dominated, mechanistic perception of modern physics, and is inspired by quantum theories evidence of the universe’s ‘cosmic web’, which affirms: Nature cannot be reduced to fundamental entities, such as elementary particles or fundamental building blocks of matter. It has to be understood entirely through its self-consistency, with its components being consistent, both with one another and with themselves (Capra 1982, p.316). Chew used the bootstrap philosophy to formulate in depth theories for particles, but also applied this philosophy to general principles of nature. Bootstrap peaked in popularity in the 1960s and began to influence many UC Berkeley physicists of whom applied this theory to their individual practices, which became a significant turning point in modern physics, and is used until today. Not only does bootstrap theory deny the existence of fundamental constituents of matter, but accepts no fundamental entities whatsoever – no fundamental laws, equations, or principles that thus abandons another idea which has been an essential part of natural science for hundreds of years. The notion of fundamental laws of nature was derived from the belief in a divine law-giver, which was deeply rooted in the Judaeo-Christian tradition (Capra 1982, p.317). Western philosophy and science has highly valued, and is still greatly influenced by, this idea of a celestial law within nature. Bootstrap ideas, along with other hypothesis in modern physics, have created a different stance and approach to the study of science, and thus, religion. Scientists have become aware that their theories, which are all based on laws of nature, are created by human beings, thus should be treated as principles of human’s construction of ‘reality’, as supposed to reality itself. Systems of laws seem to be confined and rather relative, and adjoining to this problem is the question: how could one describe a natural phenomenon if, essentially, they are all connected, hence to conceive one, we must conceive all? This is an example of one of the Western stumbling blocks to their theoretical understandings of nature, one of which the East has understood and interpreted differently. The East are interested in the ‘absolute’ understandings of the universe, and considering its interwoven nature, they realize this task as impossible, and thus, say, “no single phenomenon can be explained” (Capra 1982, p.321). Considering the bootstrap theory eradicates all laws and basic constituents of matter, it makes it one of the West’s most analogous philosophies to Eastern beliefs. BIBLIOGRAPHY Berger, J. (1972) Ways of Seeing. London: Penguin Books. Capra, F. (1982) The Tao of Physics. 3rd ed. London: Flamingo. Dennett, D.C. (2006) Sweet Dreams: Philosophical Obstacles to a Science of Consciousness. Massachusetts: M.I.T Press. Drane, J. (2009) Christianity [Internet]. The BBC. Available from [Accessed 22 November 2009]. Edelman, G.M. & Tononi, G. (2000) Consciousness: How Matter Becomes Imagination. New York City: Penguin Books. Gage, J. (1999) Color and Meaning: Art, Science, and Symbolism. California: University of California Press. Goethe, J.W.V. (1970) Theory of Colours. 12th ed. London: The M.I.T Press. Heisenberg, W. (1958). Physics and Philosophy: The Revolution in Modern Science. New York: Harper Torchbooks. Knierim, T. (2009) The Noble Eightfold Path. [Internet]. Available from [Accessed 19 December 2009]. Moreman, C.M. (2008) Beyond the Threshold: Afterlife, Beliefs and Experiences in World Religions. Maryland: Rowman & Littlefield Publishing. Ouellette, J. (2009) Oh What a Cosmic Web We Weave. [Internet]. Discovery News. Available from [Accessed 11 November 2009]. Reeve, J. ed. (2007) Sacred: Books of Three Faiths: Judaism, Christianity, Islam. London: British Library Publishing. Sullivan, M. (1973) The Meeting of Eastern and Western Art. London: Thames and Hudson. Tanizaki, J. (2001) In Praise of Shadows. (Translated ed.) London: Vintage. Tregear, M. (1997) Chinese Art. 2nd ed. New York City: Thames & Hudson. Tzu, L. (1963) Tao Te Ching. (Translated ed.) London: Penguin Books. Vision Channel. (2002) Eye Anatomy & Physiology [Internet]. Available from [Accessed 20 October 2009]. Wilhelm, R. (1968) I Ching or Book of Changes. (Translated ed.) London: Routledge & Kegan Paul Ltd. Copyright Sara Naim2011 http://sara-naim.com/WHEN-THE-LIGHTS-WENT-OFF-WE-SAW http://sara-naim.com/following/sara-naim.com/WHEN-THE-LIGHTS-WENT-OFF-WE-SAW Mon, 14 Mar 2011 07:48:39 +0000 Sara Naim 1167317 (WORK IN PROGRESS) WHEN THE LIGHTS WENT OFF WE SAW: This series explores the qualities and notions of light. Each photograph is an enlarged image, extracted from the edges of photographic negatives. Half exposures are interrupted by light leaks that have burnished the negatives with fluorescent hues, corrupting what was once there and revealing abstract forms and that would otherwise have remained unseen. Within each frame lies the ethereal possibilities of images that never were, relics of lost potential. (67INx45IN / C-TYPE DIGITAL PRINTS / 2011 - Current) <img src="http://payload.cargocollective.com/1/0/27554/1167317/1.jpg" width="670" height="422" width_o="1300" height_o="819" src_o="http://payload.cargocollective.com/1/0/27554/1167317/1_o.jpg" data-mid="5624587" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/2.jpg" width="670" height="443" width_o="1300" height_o="861" src_o="http://payload.cargocollective.com/1/0/27554/1167317/2_o.jpg" data-mid="5624593" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/3.jpg" width="670" height="443" width_o="1300" height_o="861" src_o="http://payload.cargocollective.com/1/0/27554/1167317/3_o.jpg" data-mid="5624603" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/4.jpg" width="670" height="443" width_o="1200" height_o="795" src_o="http://payload.cargocollective.com/1/0/27554/1167317/4_o.jpg" data-mid="5624611" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/7.jpg" width="670" height="443" width_o="1300" height_o="861" src_o="http://payload.cargocollective.com/1/0/27554/1167317/7_o.jpg" data-mid="5624623" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/8.jpg" width="670" height="441" width_o="1300" height_o="856" src_o="http://payload.cargocollective.com/1/0/27554/1167317/8_o.jpg" data-mid="5624627" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/9.jpg" width="670" height="445" width_o="1300" height_o="865" src_o="http://payload.cargocollective.com/1/0/27554/1167317/9_o.jpg" data-mid="5624629" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/11.jpg" width="670" height="441" width_o="1300" height_o="856" src_o="http://payload.cargocollective.com/1/0/27554/1167317/11_o.jpg" data-mid="5624631" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/12.jpg" width="670" height="443" width_o="1300" height_o="861" src_o="http://payload.cargocollective.com/1/0/27554/1167317/12_o.jpg" data-mid="5624633" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/13.jpg" width="670" height="443" width_o="1300" height_o="861" src_o="http://payload.cargocollective.com/1/0/27554/1167317/13_o.jpg" data-mid="5624635" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/14.jpg" width="670" height="440" width_o="1300" height_o="854" src_o="http://payload.cargocollective.com/1/0/27554/1167317/14_o.jpg" data-mid="5624636" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/16.jpg" width="670" height="439" width_o="1300" height_o="853" src_o="http://payload.cargocollective.com/1/0/27554/1167317/16_o.jpg" data-mid="5624637" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/18.jpg" width="670" height="443" width_o="1300" height_o="861" src_o="http://payload.cargocollective.com/1/0/27554/1167317/18_o.jpg" data-mid="5624639" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/19.jpg" width="670" height="443" width_o="1300" height_o="861" src_o="http://payload.cargocollective.com/1/0/27554/1167317/19_o.jpg" data-mid="5624640" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/20.jpg" width="670" height="437" width_o="1300" height_o="849" src_o="http://payload.cargocollective.com/1/0/27554/1167317/20_o.jpg" data-mid="5624642" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/21.jpg" width="670" height="442" width_o="1300" height_o="859" src_o="http://payload.cargocollective.com/1/0/27554/1167317/21_o.jpg" data-mid="5624643" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/22.jpg" width="670" height="442" width_o="1200" height_o="793" src_o="http://payload.cargocollective.com/1/0/27554/1167317/22_o.jpg" data-mid="5624644" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/23.jpg" width="670" height="443" width_o="1300" height_o="861" src_o="http://payload.cargocollective.com/1/0/27554/1167317/23_o.jpg" data-mid="5624645" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/24.jpg" width="670" height="443" width_o="1300" height_o="861" src_o="http://payload.cargocollective.com/1/0/27554/1167317/24_o.jpg" data-mid="5624648" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27554/1167317/26.jpg" width="670" height="443" width_o="1300" height_o="861" src_o="http://payload.cargocollective.com/1/0/27554/1167317/26_o.jpg" data-mid="5624652" border="0" align="left"/><img 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