241 Things

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Studium Generale 1000things lectures, The Hague

241 Things

The Experts (fragment), 2014

A series of fragments from the multichannel video installation 'The Experts' that is part of the Damagomi Project by Floris Schönfeld. The work consists of a number of interviews with a group of experts on the subject of the possibility of a post-anthropocentric relationship with the natural world. The experts are; Pit River shaman Floyd Buckskin, audio ecologist Bernie Krause, biologist Rupert Sheldrake, anthropologist Ida Nicolaisen, philosopher Jacob Needleman, wizard and paganist Oberon Zell-Ravenheart and sociologist Fred Turner.

In March 2014 I met Rupert Sheldrake at his home in Hampstead, London. I had been trying to meet him for about a year and had written him a number of long and increasingly pressing emails. He finally granted me a 20 minute interview, more to get rid of me than anything else I was presuming. That morning, in his pleasantly eclectic study, he summarised his basic position on the role of science, consciousness, religion in relation to his own personal belief system. The overarching view which permeates his work is a particular variation of the idea of panpsychism. This is by no means a new idea, but it seems to have once more gained relevance as the once ‘simple’ problem of consciousness has proved deceptively difficult to explain within mechanistic science. In his book A New Science of Life (1981) Rupert Sheldrake proposes the theory of morphic resonance in which he explores the idea of a universal, extra-human sentience that is present in all living things. His theory states that "memory is inherent in nature" and that "natural systems, such as termite colonies, or pigeons, or orchid plants, or insulin molecules, or galaxies, inherit a collective memory from all previous things of their kind.”

My interview with Sheldrake was a part of a work called The Experts for which I interviewed a number of contemporary researchers and thinkers about the possibility of a non-anthropocentric relationship with the natural world. The video above includes a number of fragments from these interviews including the one with Rupert Sheldrake. The other ‘experts’ interviewed for the project were the Pit River shaman Floyd Buckskin, audio ecologist Bernie Krause, anthropologist Ida Nicolaisen, philosopher Jacob Needleman, wizard and paganist Oberon Zell-Ravenheart and sociologist Fred Turner some of whom also feature in the video fragment. The interviews were part of my project, The Damagomi Project, an ongoing archive that documents the history of the Damagomi Group; a group of spiritualists and academics that was active in Northern California in the 20th century. Through the project I am trying to create a new path which can be followed to address the idea of panpsychism. In this sense the archive represents a series of thought-experiments in physical form that try to approach the seemingly impossible task of stepping out of our own human perspective. More about the project here.

Floyd Buckskin is the last remaining shaman of the Pit River tribe of north-eastern California. I interviewed him in his bedroom that doubled as his music studio on the Pit River reservation to the east of Mount Shasta, California. In the interview he told me the word damagomi comes from the Achumawi language, a language still spoken by a small population of Pit River tribe. It translates roughly as ‘spirit guide which provides a channel of communication with the natural world’. The damagomi usually takes on the form of a particular animal and this animal will accompany an individual as long as their bond is honoured. When I asked him why the Pit River people searched for their damagomi Buckskin answered ‘We are trapped between spirit and animal. We aren’t one or the other, but both and because of this we need help.’

Towards the end of my interview with Rupert Sheldrake he mentions the idea that scientists (and I would add artists) are our modern answer to shamans; ‘members of the human community who are dealing with the natural world.’ In this sense they are instrumental in trying to bridge the gap between spirit and animal that shaman Floyd Buckskin describes. However the very language with which we have tried to describe nature with has come to define our view of it to such an extent that we are unable to see it at its most vital. When we look at the natural world through the lens of our scientific tradition we can only do so by breaking it into ever smaller pieces. The whole, as in the whole organism or being or galaxy, is often only considered through the sum of its parts. This is the metaphor of the machine which is essentially static and dead. In The Science Delusion, Sheldrake attacks this simplistic perception of the universe:

‘Science at its best is an open-minded method of inquiry, not a belief system; it has been successful because it has been open to new discoveries. By contrast, many people have made science into a kind of religion. They believe that there is no reality but material or physical reality. Consciousness is a byproduct of the physical activity of the brain. Matter is unconscious. Nature is mechanical. Evolution is purposeless. God exists only as an idea in human minds, and hence in human heads.’

According to mythologist Joseph Campbell the shaman should have the dualistic approach of understanding the world around her/him through mechanistic and empirical as well as the spiritual and holistic methods. I think the contemporary artist is perhaps somewhat better positioned to consider systems from the perspective of the living whole than the contemporary scientist. This is mainly due to the holistic nature of the creative process. The creative process requires a dialogue or push back from an other, alien influence. This can be through a concept, material or human collaborator(s). Without this push back the process remains static and you are not able to create anything new. In this sense the process must be ‘alive’ for anything of interest to happen. It must ride the line between defining the context of the artist and being defined by it.

I can imagine a kind of damagomi facilitating this exchange, providing the bandwidth that allows us to access the anima mundi. What are the repercussions of following this line of questioning and assuming an existing anima mundi contains our entire consciousness along with that of all living things? Or to follow Sheldrake’s way of putting it; is the act of making art merely the fusing of the morphic resonance of various beings and materials within the temporary morphogenetic field that is an art practice?

I think it might be time for a damagomi finding quest.

As a curious teenager I read about Thought photography for the first time, in the popular science magazine KIJK. It centred on a ‘paranormally gifted’ American by the name of Ted Serious who was allegedly capable of fixing his mental images on light sensitive film. The article was illustrated with pictures of buildings and street scenes, blurry, hazy and tilted, exactly like one would picture a ‘thought photograph’. There was also a picture attached of the thought photographer in action: a contorted face, head aimed at the camera. Exactly like one would expect a thought photograph to come into being.

Ted Serious in action

I found it fascinating, and wholly convincing. These were, I have to add, the seventies, the times in which Uri Geller had a TV public of millions believe that he could bend teaspoons with his willpower, the times in which parapsychology could be taken seriously as a professional discipline, as far as within scientific circles. The New Age had started, with its unbridled embrace of mystique, astrology, crystals, flying saucers and whatever else is unverifiable. Previously ‘occult’ matters such as spiritism, auras, telepathy, and telekinesis seemed to have become phenomena that could be seriously studied and would even soon be explained and proved.

Big Bang thoughtograph

Telekinesis – the ability to move objects using sheer mental force, without touching. If one could assume that this phenomenon really existed, the conferral of a mental image onto light sensitive material should be one of its most easily realised forms. The defiance of gravity would not even enter into it; a subtle molecular change of some tiny sensitive layer would suffice. If the influence of even the smallest amount of light would be able to effectuate this change in the emulsion of photographic film, a concentrated thought, given extra focus by sheer power of will, then, should certainly be able to do the same.

Alas, paranormal abilities such as telekinesis and thought transfer remain unproven, and Ted Serios was exposed as a fraud even before Uri Geller (although some, of course, still challenge this). Although the New Age has really not quite ended, the idea of telekinesis seems to have almost disappeared from collective memory. As for thought photography, one doesn’t even come across the idea of it at all anymore.


That might be quite a shame, since the ability to photograph one’s thoughts is extraordinarily appealing to the artist. To take a picture not of the outside world, but of one’s inner world. Not of what something looks like, but how one experiences it. In fact, it is precisely what artists have always been looking for in photography (and all other disciplines).

For what makes photography such a difficult medium for an artist? What is the cause of the debate that is held ever since its invention, namely whether photography can be classified under the arts?


The fundamental problem, I believe, is that a photograph depicts the visible world by means of a lens and light sensitive material, enabling it to present an astonishingly accurate image of what something looks like- but not much more than that. For a real estate agent who wants to sell a house, that’s perfect, but an artist searches for something else. He does not want to register the outer manifestation, but the inner experience. An artist tries to express the invisible by means of the visible.

Thoughtograph- Ted Serious

One could say: what the artist really and truly wants is to photograph his thoughts.

In my time in art academy, during my first skirmishes with photography, I renewed my interest in thought photography for this very reason. I did not regard it as a real phenomenon, but like a symbol, a symbol for the artist’s quest for the impossible. The ability to photograph one’s thoughts – it seemed to me a kind of Holy Grail, comparable to the secret procedure for transforming lead into gold, the potion that keeps the drinker young forever and ‘the book that renders all other books redundant.’

mental photography

Thus understood, only a metaphor remains of Ted Serios’ ‘thoughtography’ – albeit a beautiful one. A metaphor of the hardly realisable desire of the artist to capture the invisible in an image.

The idea has stayed with me ever since, and I think in a certain way all my work can be regarded as attempts to break through the impossibility of ‘thought photography’.

I believe that I can even say I was successful at some moments. But that’s another story.

Paul Bogaers

“That which is creative, creates itself” – John Keats

Nothing remains unsaid at schools; everything is up for discussion. The child’s right to cherish his secrets is denied him. There doesn’t seem to be a place for daydreams, fantasies, or repression. Every minute of a child’s life must be meaningful. But children want to play and experiment without pretension. They should be allowed to form images and thoughts that manifest themselves within the hidden corners of the mind, far away and out of sight from others.

My life is given form by the countless images that impose themselves on me every three hundredth millisecond. The distance between the conscious and the unconscious seems minimal. Useless thoughts dominate my brain and link together to create a chain of countless, fleeting thoughts. Every action and all behaviour are preceded by fictional plans and fantastic imaginations.

My ability to make exceptional drawings was recognized early at kindergarten. Were parents and teachers competent to recognize ability? On the grounds of what criteria were my drawings assessed? When I analyse them, I notice realism, detail, and intensity. The sense of imagination is not strikingly idiosyncratic or expressive. The use of colours seems realistic. The images were related to trips and outings I’d made, as well as creatures like garden gnomes and fantastical animals. Goblins. The challenge was to portray these imaginary images as perfectly as possible. Kids don’t strive for expressiveness. Only adults appreciate the visible struggle of creation or the painter’s movements coagulated in paint upon the canvas.

My talent had little to do with the characteristics that would be important for a future artistic practice.

At primary school I endlessly drew mice with human features, top secret flying, driving, and diving survival cars; and even historical events made their appearance, like the beheading of van Oldebarneveld. Many artists say that they’ve felt like an outsider and an observer since childhood, and to have a greater sensitivity to their surroundings.

Teachers interpreted the bloody drawing as expressions of mental illness or family issues. By doing so, they made an implicit connection between artistic quality and mental abnormality. I had an undeniable urge to shock. Bloody, scary scenes lent themselves well for this. It isn’t only admiration that stimulates the need to create, a negative response likewise stimulates this need; I’ll show them! The feeling of being an outcast energised me.

When I was twelve, I had a teacher sporting a bow tie who presented himself as an artist. He created an inspiring environment by being a role model, observer, dreamer and rebel. The point of departure is what formed the student’s ideas, while constantly referring to art and artistry. He had faith in the idea of the student. It was this attitude that also drew students to him who had little to no interest in art. He was very conscientious, delayed his judgement and was constantly alert. The students believed in his honesty. Without being aware of it, he was a forerunner in what now would be called authentic teaching.

Still, I was seen as a talented student. That implies a promise that had simply to be fulfilled. At this point, heading to the academy seemed self-evident.

The promise remains. But the longer it stands, the less likely it is that it will be realized. As time goes by, personal identity becomes entwined with the identity of the artist. This makes quitting impossible. With Bourdieu in mind, being an artist is like a coat that I can’t take off, for if I do, I’d be naked.

Personal research. Fleming wrote beautifully about it: the researcher must be free to find new discoveries, wherever these may lead him. Every researcher needs a certain amount of personal time to work on his own ideas without having to justify them for anyone, unless he himself wishes to. After all, extraordinary ideas can form during one’s free time. The desire for immediate result is common, but can be detrimental. Truly valuable research is a long-term ordeal. In fact, it’s very possible that nothing of practical use emerges from a laboratory for years on end. Then, quite suddenly, something may appear. Something that is so innovative that its impact could cover the costs of the lab for a hundred years.

This bootlegging, this ‘playing in the boss’s time’ is zu lehren und zu lernen, at school and university, in theory and in practice. For example, you might soak peppercorns in water and ask students to observe them through a microscope to find out why they’re so sharp. Are they spiky? It then seems that something is moving under the microscope. Art there students who see this? If so, who? The participant is then asked to draw what they perceive. “You’ve only really seen something after you’ve drawn it,” Da Vinci wrote. Then you reveal that van Leeuwenhoek was also looking for spikes on peppercorns, unsuccessfully, and instead found what we now call bacteria. This experiment was done one my request in Amsterdam at a lyceum with success; the students were moved. This is how you uncover latent talent: by hiding unexpected findings in practical assignments, unannounced of course. The participants who missed the unexpected observations, or who did not pay enough attention, learned that they were insufficiently observant, surprised, flexible and active in comparison to their peers. Like behaviourist Skinner said, when you encounter something interesting, you must study that and leave the rest to wait.

The Hungarian endocrinologist Hans Selye so captivatingly wrote: ‘In my opinion, this is one of the most precious gifts for a scholar to enjoy. We tend to focus ourselves on what we are researching to the extent that other facts simply do not reach us, regardless if they are of far greater importance. This is mostly the case with things that deviate so greatly from the ordinary that they seem implausible. In the end, however, only the implausible is truly worthy of our attention.’

If an idea to research something crazy suddenly befalls you, it’s well advised to go just through with it, complete it, and publish it. I once had the idea to visualise human coitus using an MRI scanner. It was a spontaneous idea; like the French poet-statesman Lamartine said, ‘I never think, my ideas think for me.’

I immediately received criticism. ‘What’s that good for?’ ‘You don’t even have a question! ‘We know everything already.’ But also enthusiasm: ‘if you want to research something that’s never been done, and easy as pie, do it! Why not?’

And so, we were able to conduct this study, but only in secret. Subsequently, the first scan was immediately compelling, iconoclastic even. It turned that all Da Vinci’s drawing proved to be fabrications, without anyone ever objecting (you and me included). The scans showed that the previous depictions had originated partly from the bedroom (before death) and partly from the cutting table (after death).

Seks in de MRI

The article about our research was rejected three times. That’s just how deviant our findings from the scanner were. Even our fourth article was considered to be ‘made-up’ by the British Medical Journal. The article wasn’t considered an actual report of an actual study until the magazine had done a thorough research on the accuracy of it, without us knowing. They even asked to include us in their Christmas edition (where every year strange studies are bundled).

Meanwhile, the study is the most clicked article on their site, while images of the scans weren’t even on the cover of the magazine. The film version of the MRI scan on the ‘Improbable Research’ site has been watched over a million times. It also immediately received the LG Nobel prize, because it makes one laugh before it makes one think.

In retrospect, the study is a classic example of Spielerei nebenbei to Ernst im Spiel and freedom in research.

Like Johan Huizinga argued in his Homo Ludens: play is indeed a higher order than severity because play includes severity, whilst severity excludes play.