Contemporary Manifestations of the Aperspectival

Now that we’re getting into Part 2 of The Ever-Present Origin: Manifestations of the Aperspectival World—An Attempt at the Concretion of the Spiritual, it would seem like a good time to begin exploring what these “manifestations” might be in our time, given that Gebser was writing in the 1930s and '40s and much has changed since then.

How do you see an “aperspectival” world emerging into being now?

How can we make Gebser’s (some would say) prophetic insights into the emergent integral consciousness structure relevant to the world of 2016 and beyond?

How do you see us relating to the “fourth dimension” (time) in our own…time? What are the unique “temporics” of our cultural moment?

Where do you see “the spiritual” concretizing in art, culture, science, politics, business, technology, or other areas of contemporary life?


I think there have are already been incepent attempts to answer some of these questions. So, I want to do a bit of streamweaving here to draw the various conversational threads together.

@natalie started us off by inviting us to share our more ‘creative*’ responses to the reading in this thread. Then, in response to this, I thought it would be nice to share ‘creativity*’ that had an aperspectival feel that we recognized in the world in this thread. The thread I started, for some reason, did a quantum leap to a different structure in the #infinite-conversations forum hierarchy. So, it simultaneously manifested in @Sandstone_Snowflake’s thread exploring the future of ‘creativity*’

  • I’ve been putting creativity in quotes, above, to indicate a differentiation that has become more concretized (ohh…I love using all these new ‘big’ words) through the reading of Gebser. In one sense, creativity is, to me, a mode of being in which new works of art are likely to manifest. This is the sense I’m using creativity above. In another sense, creativity is an aspect of the spiritual that underlies all manifestations of being. In this sense, existing, itself, is creation. I’ve recently realized that this is the sense that I’ve been trying to enact in the ‘poetry of being’ I’ve been exploring at open mics I frequent.

I would have to say that unequivocally Gaudi’s work, and particularly the Sagrada Familia is an architectural example of the birth of the aperspectival. It is based upon mathematical (geometric) inverted parabolas (and the seminal work of Poincare). John Cage’s work, too, is a really important demonstration of the aperspectival (sound/non-sound as sound). There was also an interesting German artist named Hanne Darboven who did musical /mathematical scores and this too demonstrates the aperspectival relationship of the current state of creative expression connected to a shifting mathematical consciousness.

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I’m somewhat of a pop-culture aficionado.

In part, I think this is a reflection of a ‘integral’ approach to art that I started moving into about a decade ago, particularly around music. At the time, I was a DJ and found myself becoming distant from over-identification or (dis)like of one genre of music over another. Instead of just listening to what I liked, I started approaching music from the standpoint of: Someone made this for a reason; Can I get into the mind/mood of the creator of this music, and hear it from their ears? Can I try understand what they were feeling, where they were coming from, and what motivated them to make this? This approach broadened my horizons significantly and also led me back to a deep appreciation for pop-music, which, for quite a while (prob sense I was like 12), I had been snubbing my nose at.

I also appreciate pop-music, and pop-culture in general, because I think it allows us to get a pulse of what’s happening in the collective mind/body/soul. This is what we, as a culture, are swimming in and loving it.

So, it has been to my delight, that for about half a decade or so, I’ve noticed what I consider integral (aperspectival) art in our pop-cultural landscape. Other’s have noticed this, and call it the new authenticity/sincerity. However, I the cultural critics that use this term, are limited in their scope. I think the movement is much broader than what they can see.

One last note before I start giving some examples. I think this spontaneous pop-culture manifestation of the perspective is, in some sense, deeper than self-proclaimed, academic, or integral designated art, which, while interesting, in my opinion, is often flat and trying to hard. In contrast, the art I am planning on sharing feels, to me at least, much more full bodied and raw.

For example, I think this video by FKA Twigz, demonstrates this by transcending rational either/or dichotomies in her presentation of the crone, maiden, and mother. Particularly, in the “I’m a doll” segment, where she explores how both disgust and pleasure can simultaneously arise from being an object of the male gaze. I also like, as the mother, in the last segment, she seems to be giving birth to the future/now. I could go on forever…I think this is an brilliant example of integral art.

I have some more examples, but I am at a library, and it is closing…So, I will leave with this. I also particularly appreciate music video as a art form as it, if done aperspectivaly, can include: magic (music), mythic (image), and mental (lyrical discourse).


thanks for sharing~ absolutely what is in the pop culture reflects most clearly the level of consciousness unconsciously moving through. This is the level that is largely intuitive. and as McLuhan said, the medium is the message. I WISH I were a filmmaker. I’m not. so I am limited in my ability to engage with the current most appropriate medium for expressing integral consciousness. That being said, I think it is important to not disregard the other mediums being used as they also express a specific level of consciousness.
As you stated… it is SO important to try and understand WHY the maker is doing what they are doing.
Thanks for sharing! X

I’m not sure I get what you are saying completely here. Are you saying that the makers of art in the pop-culture are, by in large, unaware of what they are doing?

yes and no. I believe that the makers are generally aware that they are working with mythic content, although they might not necessarily understand the deeper mythic/religious meanings inherent in what they make. (How can you know and give shape to what is unknown? )
I believe that pop culture is absolutely the way that the unconscious elements (magic and myth) still existing in consciousness get passed on to the next generation. (They are all mythic in nature, follow mythic themes, and mythic themes are the step children of religious traditions. One has to understand the link between myth and religion really. )
These pop culture transmissions get passed along with everything else being unconsciously tossed about in a culture into one giant soup bowl of conflicting messages, purposes, agendas.
Take for example, the superman motif. I mentioned it earlier somewhere. it is a very very old motif, and actually articulates the archetypal Narayan or God-man of numerous spiritual traditions.
The Narayan is the archetype of the divine alive in man, the higher self that rises (ascends) to the highest sense of self possible and LIVES that in the manifest world. It sheds its animal nature in favor of a more cultivated self. It was called the Uber-mensch during Nazi Germany and fueled an entire cleansing of everything that did not meet the criteria of the divine man in the culture. (An eradication of the “stain” that keeps man from achieving this divine state). a misinterpreted alchemical theme~ washing the fleece, the albedo… The Dombi (washerwoman motif) in the Vedas and Alchemy in general.
The Narayan is the self that will save us from all evil in the world. but this is a mythical construct (both good and evil) that is really only in our own selves and NOT in the external world.
More recent mythic narratives, the return of the divine feminine for example, brings to awareness our ORIGINS, the place from whence we arise (Gebser’s work) as opposed to the mythical place we ascend to (Heaven).
In TRUTH, we return to our origins. ashes to ashes, dust to dust… we don’t ascend anywhere, except in consciousness/thought.
This is the very difficult paradox that is so hard for our minds to reconcile. We have to believe in a better future. It is a necessary human need to continue living despite the atrocities inherent in living.
I don’t believe that any kind of an idealized state of living will ever come about. it never has, it never will. The state of perfection lies before time as we know it (Eliade’s Illo tempore) in a mythical account of perfection. And the same perfection is held out in front of us as a thing to strive for. In truth, it doesn’t exist, and we are left with out Darwinian nature’s and the truth of human existence.
complicated stuff.
but our narratives (in pop culture or otherwise) are the means of transmission for cultural values. consciously, or not.

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In the video you shared, the crone (closest to death) reveals not the beautiful as in youth, but the beautiful as in truth, what lives through us as spirit manifest in matter. but the truth is, death lives through us and returns to the origin.
I am looking at the doll segment (or all the feminine depictions actually) as the man’s anima… not as something to be used idolized, but as something that is a part of himself in whatever way he imagines it.
In the end, the mother still reclaims him in death regardless. (and as you point out, the rebirth always occurs)
profound video actually~ loved it.
Are you familiar with Hans Bellmer’s work?

@wwjimd: That music video by FKA twigs is utterly incredible. I’d never heard her music before or seen her work. My bodymind was duly blown. I watched it twice and could watch it again.

One of the things that’s great about it is how she mutates between different expressions of her feminine energy—from sexual object to seductress to life-giver to victim to judge to authentic (creative) self.

Yes, the magical and mythical and mental (directed) content is all there, but what makes it exquisite is how it’s all dynamically arranged; the mix. The multidimensional embodiment.

Anyway, thanks. I will be sharing this with others for sure.

@AriAnnona - Gaudi’s work is amazing. Beyond anything I’ve seen (or rather, imagined) architecturally. I would love one day to see the Sagrada Familia in person. In the meantime, the video below is the closest I’ve gotten. Definitely belongs here as a “manifestation.”


Exactly! You are the first person, other that my girlfriend, I’ve shown this to that gets the depth presented in her multi-valued expression of feminine energy…at least, your the only one who has been able to articulate it. Thanks! I get shivers just thinking about the video. Other people I’ve shown it to primarily only see one expression and are blind (or, worse, reactive) to the rest.

Again, exactly! What makes the new sincerity an expression of Integral/aperspectival art, to me, is the interweaving of a web of seemingly incompatible (on the surface) sensations, emotions, concepts, and values into a coherent whole, which is much closer to the authentic expression of what it is like to be human than simple either/or black/white reactive scenarios.

Another, more wholesome, example of this can be seen in Steven and Connie’s, from Rebeca Sugar’s Steven Universe, love for marshmallows that simultaneously arises with their recognition of their grossness. Shown here in the first scene of Episode 42, “Winter Forecast.”


was fortunate enough to visit it this past summer.

it made me weep when I walked inside. truly amazing~

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Looking into contemporary structural (leaving behind perspectival space all-together) artists, I’ve found these pieces by Chinese artist Liu Jiutong. I can’t find much information on him or his background and would love to know more. What I have found is here and here.


4D, achron, Time-free trump:


Beautiful video. Thank you for sharing. It seems to me that it might be too easy for someone like me to look at one of Stephen Wilkes’ photos and simply walk away, like a tourist taking a selfie at an ancient cathedral without even really looking at it. And yet when an artist spends hours and hours witnessing their experience, present with the scene, this is where the ‘magic’ (if you will) really happens. It is in this practice of patient observation, like meditation, that the ‘aperspectival’ reality becomes apparent, and the artist is transformed through this process, which does not merely fixate experience in a spactime coordinate, but allows this point itself to unfold its potentials.

Incidentally, that image of time-free Trump above, that orange wave, which I had forgotten was posted here, is really spooky (especially from this vantage point in time, 7 months later)!


“It is in this practice of patient observation, like meditation, that the ‘aperspectival’ reality becomes apparent, and the artist is transformed through this process, which does not merely fixate experience in a spactime coordinate, but allows this point itself to unfold its potentials.”

That was really well-put. One might say there is a kind of chicken-and-egg relationship between integral time-freedom and the patience it takes to recognize and creatively use it. Of course, in one sense art is always about the “1% inspiration and 99% perspiration” of meaningful expression, but it seems Gebser was right about the modern ‘press for time’ often keeping us (generally) too busy taking selfies, as you noted, when we should be looking at the cathedral.
Speaking of which, besides the beauty of Gaudi’s work itself, the fact of its generational construction is striking. (I just knew the Spanish Civil War would rear its ugly head somewhere in the story; I’m glad many models were able to be reconstructed.)


Brilliantly put. Relates to our exploration of Ambient Place, over at sceenius.

Also relates to

“Taking a line for a walk.”
– Paul Klee

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Here is a “point unfolding its potentials.”

Thanks to @Philippa for sharing this song, from one of my favorite composers, in this topic focused on unfolding her own poetic voice.

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