Art within Creative Intelligence

ART

as seen within the contents of:

 

THE

SCIENCE OF      

CREATIVE INTELLIGENCE

 

Back in 1970, I had the privilege of listening to a series lectures by Maharishi Mahesh Yogi at Humboldt State College. His talks ran two to three hours, three times a day and continued for over a two week period. It was then that he first introduced what is now called the Science of Creative Intelligence. He spoke in great lengths about the idea of creative intelligence but, if my memory serves me well, he had not yet refereed to it as a science.

His lectures were spontaneous and would usually be stimulated by a question arising from within the sea mediators who were attending the course. An intense competition developed for those who wished to be heard as Maharishi's answers would sometimes fill an entire hour restricting the questions to only two or three per sitting. Those with pressing questions would sometimes forgo a meal just to be the first in line. There were no restrictions to the questioning but Maharishi would always find a way to to answer all in the light of creative intelligence.

All areas of life were being addressed and one day someone finally asked Maharishi, "What is art?" His responds was,

"Art directly expresses the level of evolution of the artist."

There was a few moments of silence... and then a unrelated question was raised from the audience and he allowed his statement on art to stand as complete.

A few days later we were all asked to group ourselves into separate areas of interest and discuss how creative intelligence operated within our field of action. About twenty of us grouped together as artists. Quite quickly some of the members of our group became very frustrated as the majority of us seamed to enjoy the fact that we were not reaching a point of common agreement. Finally we all decided that it would be good if we all separated for a few days—write a short paper expressing our individual point of view—then return and present our personal points of view to the group.

I was now put in the position to ponder and put into words, what art really meant to me personally. I was very intrigued with Maharishi's answer to the question as to, "What is art?" and I found that his answer—"Art directly expresses the level of evolution of the artist"—was, in essence, the seed form of my own understanding. I then found myself writing the following:

"When I do art... I put my mind on the ,floor in whatever form it may be. With my senses I sort out this mind. When this is finished, the mind returns to the place in which it has never left. What is left lying on the floor is a byproduct of the evolution of my mind which could be called an expression of my evolution, or art. Art is the most beautiful of all man's products because it directly express the creative intelligence found in man, which is the key to greater happiness and bliss. For the artist his art is his most beloved possession because it vibrates the essence of his mantra. Only when the artist has evolved to a point where the whole cosmos becomes his mantra will it be easy for him to give up his work."

I was very excited about my little essay. For one, this short paper was the first serious thing I had ever written. But more important than that, I felt I had actually spoken the truth—that I had actually got under the surface of things and got to the real point. I had to know if my feelings were correct. I decided to miss the next meal, claim an available microphone and test my words by directly presenting them to Maharishi.

After a long wait, the meeting finally started. The first question was asked and answered and then Maharishi turned and placed his eyes upon me. I took a deep breath and mentioned that I had a statement—His body language showed me that he wasn't to excited about that—but I quickly told him it was short and I would follow it with a question. He nodded OK and I proceed to read. Finishing, I looked up at him and asked, "Did I get the point?" and quickly sat down. He was gently rocking back and forth with his eyes closed. After a few moments, he expressed in a high-pitched melodious voice,

Maharish-Mahesh-Yogi04

“I
 thiiiiiink
  you got it”

Then, shifting to a more serious tone, he spoke...

“and very nicely stated”

Twenty years later, I was again asked to express how creative intelligence operates in my field of action but this time in the light of the Science of Creative Intelligence.

The following is a commentary on the original statement I presented to Maharishi in 1970 in the light of the knowledge I have gained, through the series of thirty three lectures on SCI, twenty years later:

"When I do art"...

This introduction introduces the ultimate starting point of any and all cycles—the knower taking the position of desiring to know and then taking a specific angle or approach that will sequentially unfold toward fulfillment. The angle of approach in this case is the process of doing art.

"I put my mind on the floor in whatever form it may be."

Having defined the angle I immediately start the process of taking my desire toward its fulfillment. The first step is to take the dive. The dive takes the mind toward the source of its own thoughts. When an true artist works, He allows his mind to gravitate inward to the bottom surface of his conscious awareness. I say bottom surface because the bottom of his conscious awareness shares the same surface as the top surface of the great ocean of pure consciousness not yet made available to the consciousness of his own individual awareness. This is because his nerves system has to many stresses within it and is not yet refined or delicate enough to support subtler states of consciousness. This stratum that lies between his conscious awareness and the surface of what will soon bring him the fruit of his desire—creative intelligence—is very dynamic. It rises and falls like the swells of a great ocean. In the rising, he tastes the full satisfaction of what he already knows. In the falling he tastes the subtle, tantalizing sweetness of what is still slightly beyond his reach. It is this subtle elusive sweetness exposed on the floating floor of his individual awareness that the artist attempts to places on the floor of his studio. Although at this initial stage of the process what actually ends up on the floor is only the present state of his mind. (I said, "on the floor" because I was at that time a sculptor. If I were a painter, I would have said, "on the canvas, or, "on the paper.") What is important here, is that I have created an object that exemplifies the status of my conscious awareness.

"With my senses I sort out this mind."

I, remaining subjective, can now evaluate my self, through the senses, as an object. But before I can sort out my mind I must introduce a second-element, something that will shed new light on the subject. At this point, I failed to mention the heart. The nature of heart is to be intuitive. It has the ability to transcend rational thinking and communicate with the great ocean of creative intelligence its self. The senses perceive—the heart evaluates—the artist refines. I should have said, “With my 'HEART' and senses I sort out this mind." Spontaneously the artist removes from the mind placed before him the stresses the heart has now discovered. In time and timelessness, through the transcending quality of the heart, the artist breathes the fullness of life—his own life—into an aspect of an object that, just a moment ago, tasted of life—but was lifeless.

"When this is finished, the mind returns to the place in which it has never left."

From here to here through there. From here... the original conscious awareness of the artist. To here... the expanded awareness of that very same artist. Though there... through the process of placing the subjective here as an objective over there, refining that object so it may support an expanded awareness, and returning it to the subjective here.

"What is left lying on the floor is a byproduct of the evolution of my mind which could be called an expression of my evolution, or art."

This phrase gives credence to the statement by Maharishi—"Art directly expresses the level of evolution of the artist"—that inspired my original statement.

"Art is the most beautiful of all man's products because it directly express the creative intelligence found in man, which is the key to greater happiness and bliss.".

What has been left on the floor directly expresses the level of evolution the artist has gained through the process he has used to produce it. Art, the word, is commonly used to express both the process of doing art and the product of the process the object. But in reality the artist himself is the work of art. The artist creates then steps into his own creation.

"Curving back upon my own nature, I create again and again."

BhagavadGita, 9.10

"For the artist his art is his most beloved possession because it vibrates the essence of his mantra."

When the artist introduced the heart, representing the second element into the process, he was able to transcend the limits of his own awareness and was now qualified to fully evaluate the object from the point of view of creative intelligence itself. In doing so he was able to shed light upon the object. The object could now be refined to create a resonance with this purer form of light. This then in turn would stimulate more emissions of light from the heart. This process, curving back upon itself over and over again, is analogous to the mantra. It acts as a catalyst to bring about the swift unfoldment of the whole process. It is precisely this effect that brings out spontaneity in the artist.

"Only when the artist has evolved to a point where the whole cosmos becomes his mantra will it be easy for him to give up his work."

At this beautiful point in the artist career, conscious awareness has opened up so fully that all manifest creation dances within him. He is intimately united with all things in the most conscious way imaginable. He has claimed his inheritance. He is now Brahman. His heart is now all of existence and is full. His work is now done. His desire IS. The knower, the known, and the process that unites the two, dance within him. He himself does nothing.

So again I ask you Maharishi, "Did I get the point?"

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