Desprovisto de artificio y motivación ulterior

“El resultado de la actividad artística debe estar enteramente desprovisto de artificio y motivación ulterior de cualquier clase. No debería haber ningún agente mediador entre la inspiración artística y la mente a la que accede. El autor debe ser un instrumento completamente pasivo para dar expresión a la inspiración. La inspiración es como la «música celestial» (t’ien-lai) de Chuang-tzu. Los artistas tienen que escuchar la música celestial y no la humana. Y cuando esa música llega, hay que dejarla ser sin interferencias humanas. Hay que dejar que el inconsciente se manifieste, pues el inconsciente es el dominio en el que residen los impulsos artísticos, alejados de nuestra superficial vida pragmática”.

El zen y la cultura japonesa by Daisetz T. Suzuki

How you live changes your brain (the perfect pitch)

“I was fascinated by a story in a newspaper a few years ago about the search for perfect pitch. A group of scientists decided that they were going to find out why certain people have perfect pitch. You know certain people hear a note precisely and are able to replicate it at exactly the right pitch. Some people have relevant pitch; perfect pitch is rare even among musicians. The scientists discovered – I don’t know how – that among people with perfect pitch the brain was different. Certain lobes of the brain had undergone some change or deformation that was always present with those who had perfect pitch. This was interesting enough in itself. But then they discovered something even more fascinating. If you took a bunch of kids and taught them to play the violin at the age of 4 or 5 after a couple of years some of them developed perfect pitch, and in all of those cases their brain structure had changed. Well what could that mean for the rest of us? We tend to believe that the mind affects the body and the body affects the mind, although we do not generally believe that everything we do affects the brain. I am convinced that if someone was to yell at me from across the street my brain could be affected and my life might changed. That is why your mother always said, ‘Don’t hang out with those bad kids.’ Mama was right. Thought changes our life and our behaviour.”

Ten Things I Have Learned by Milton Glaser

Linguistic relativity

“The linguistic relativity principle, or the Sapir-Whorf hypothesis, is the idea that differences in the way languages encode cultural and cognitive categories affect the way people think, so that speakers of different languages think and behave differently because of it. A strong version of the hypothesis holds that language determines thought and that linguistic categories limit and determine cognitive categories. A weaker version states that linguistic categories and usage influence thought and certain kinds of non-linguistic behaviour.”



Main Entry: ex·tero·cep·tive
Pronunciation: \ˌek-stə-rō-ˈsep-tiv\
Function: adjective
Etymology: exterior + -o- + -ceptive (as in receptive)
Date: 1906

: relating to, being, or activated by stimuli received by an organism from outside

Main Entry: in·ter·o·cep·tive
Pronunciation: \ˌin-tə-rō-ˈsep-tiv\
Function: adjective
Etymology: interior + -o- + -ceptive (as in receptive)
Date: circa 1921

: of, relating to, or being stimuli arising within the body and especially in the viscera

Merriam-Webster Online Dictionary


“Cryptoamnesia is characterized by having a thought you’ve had before without realizing that you have had the thought before. The easiest way to observe cryptoamnesia is in episodes of plagiarism where the plagiarist is completely unaware that the text existed previously. (…) These anecdotes elucidate a common underlying mechanism of memory. Every time we recall a memory it is immersed in a narrative context. Usually the context of the memory is correctly recalled, however, in certain circumstances, it can be forgotten. Without a narrative context for an idea or memory, we tend to make one up. Therefore we may consider a memory remembered out of context a novel idea.”

The Neuroscience Journal of Cliff Rodgers

Pirotecnia para los tímpanos y la corteza cerebral

“El aire que vibra, la membrana que palpita, el hueso que se mueve, el líquido que oscila y los impulsos electroquímicos que se precipitan como fuentes sobre el cerebro expectante.
Los sonidos tienen un acceso más directo al Subconsciente que la información visual.
Más allá de los efectos dramáticos o psicoacústicos, los ruidos y sonidos pueden generar un espacio de experiencia perfectamente físico.
Según su propia etimología (sensatio), las sensaciones hacen referencia a sentir (sentire), es decir, al tacto, por lo tanto también a la relación mecánica del cuerpo con su entorno mediante la tracción y la resistencia.
El sonido es parte del cuerpo, penetra en él con sus ondas sonoras y nos afecta físicamente. Creo que este es uno de los motivos por los que puede emocionarnos tanto.
Siempre me ha encantado evadirme, ya fuera mediante un paseo, un libro, películas o sueños; y es ahora cuando me doy cuenta de lo que he hecho estos últimos años. He practicado agujeros que daban a mis otros mundos.”

Pirotecnia para los tímpanos y la corteza cerebral by Ralf Beil


• Sensational technologies [read]
Annet Dekker and Vivian van Saaze. Digital Creativity 2005, Vol. 16, No. 2.

• Speaking of Art as Embodied imagination: A Multisensory Approach to Understanding Aesthetic Experience
Annamma Joy and John F. Sherry, Jr. Journal of Consumer Research, Inc. Vol. 30, September 2003.

• The Aesthetics of Smelly Art
Larry Shiner and Yulia Kriskovets. The Journal of Aesthetics and Art Criticism 65:3 Summer 2007.

• (Re)Confirming the Conventions – An Ontology of the Olfactory [read]
Helen Paris.


• From Stroboscope to Dream Machine: A History of Flicker-Induced Hallucinations
B.C. ter Meulen, D. Tavy and B.C. Jacobs b. European Neurology Vol. 62, No. 5, 2009.

• Décor by Timothy Leary [read]
Mark Alen. The New York Times. January 20, 2005.

• The Touch through Time: Raoul Hausmann, Nam June Paik and the Transmission Technologies of the Avant-Garde
Ina Bloom. Leonardo – Volume 34, Number 3, June 2001.

• Gnosis and Iconoclasm: A Case Study of Cinephilia
Annette Michelson. October, Vol. 83 (Winter, 1998).

• Review: Yann Beauvais (ed.), Paul Sharits
Federico Windhausen. Animation: An interdisciplinary journal. July 2009, Volume 4, No. 2.

• The Films of Peter Kubelka
Earl Bodien. Film Quarterly, Vol. 20, No. 2 (Winter, 1966-1967).


• What’s in a flicker film?
Edward S. Small and Joseph Anderson. Communication Monographs, Volume 43, March 1976.

• His African Journey: An Interview with Peter Kubelka
Scott MacDonald. Film Quarterly, Vol. 57, No. 3 (Spring, 2004),.

• Structural Film: Ten Years Later
Regina Cornwell. The Drama Review: TDR, Vol. 23, No. 3, Structuralist Performance Issue (Sep., 1979).

• Special effects in Martin Arnold’s and Peter Tscherkassky’s cinema of mind
Michele Pierson. Discourse, 28.2 & 3, Spring and Fall 2006.

• Biomusic and the Brain: An interview with David Rosenboom
David Paul. Performing Arts Journal, Vol. 10, No. 2 (1986).