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An Interfaith Arts and Narratives Proposal
Creating sacred experiences of attention and reflection through multimedia "witnessing" portraits in places of worship from all faiths and traditions

What Is Most Personal Is Most Universal

Carl Jung

This proposal presents a vision that the Arts and Narratives "Sensemaking" can offer a unique platform for interfaith dialogue. Opening new pathways to the crucial dialogue that our society will need to face our ever deepening, and ever global social and environmental crises.

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The Goal:

Installations Of Portraits In Seven Countries, Across Diverse Faith Traditions
- filming, recording and painting 100 portraits in collaboration with local artists

Montage by Tyler.World with elements from pxfuel (photo-opkdp) 2021

Partial overview of faith symboles (Islam, Hinduism, Sikhism, Taoism, Judaism, Christianity, Ayyavazhi, Wiccan (goddess)

world religions map.webp

84% of the world's  population is religious...

Our social cooperation hopes, in the face of challenges such as climate change and inequality, have to take this into consideration  

A comprehensive demographic study of more than 230 countries and territories conducted by the Pew Research Center's Forum on Religion & Public Life estimates that there are 5.8 billion religiously affiliated adults and children around the globe, representing 84% of the 2010 world population of 6.9 billion.

Overview

This proposal leverages the recent art and video experiments by Tyler.World (John Oliver), to create an innovative integration of symbol, image, narrative and dialogue to evoke the crucial role of Interfaith dialogue for our exponential socio-economic and environmental challenges.

"It is not just technical solutions that we need for our social crises, but a new depth to our belief systems - a re-enchantment with the core principles of our faith traditions." 

The generative future of our belief traditions and spiritual practices can be seen as opportunity of increasing our developmental "span" as a global community - "span" meaning embracing both greater diversity in our spiritual practices, AND deeper connections and integration througth the universal principles that they share.

With a passion for bringing philosophy into action, the project seeks to demonstrate how the three primordial perspectives of the arts, sciences and religions (or Kantian Good, True and Beautiful), can be brought together. 

Why Portraits and Narratives?

The sacred practice of seeing another

The narratives practice already has its precendents with artists such as JR and documentary filmers such as Yann Arthus-Bertrand (see and overview here: https://www.interiortruth.com/landscapes-and-dialogue), but none of these projects are focusing on our faith traditions.

 

Yet, it can be found in many faith texts and philosophy schools, the recognition of the connection we build when unconditionally seeing 'another', beyond our identites, our labels, is in fact a sacred practice. 

 

Portraits are therefore a corner stone of practice that we can step into, where we stop time, take a step back and invite in the wonder of seeing another in their uniqueness.  Such portrait practices draws on capacities of listening, seeing and paying attention, that can provide revelatory moments of discovery and connection, both between complete strangers and even with those that we live close to and think we know.

The sacred practice of attention

Attention could be said to be the most fundamental currency of the human condition - our attention is being constantly solicited and influenced by our relationships, material needs and the socio-political-economic forces that we live in.

 

However, there is growing recognition, and re-embracing of practices that help us take back our agency and sovereignty in where and how we direct our attention.

It is here, that the principles of the creative act and the artistic lens, that help us embrace deep experiential engagement with the full spectrum of our powers of attention - such that we see the sacredness of how we can direct our attention with the qualities of openness, unconditionality and wonder.   

The meaning making opportunities of signifying our narratives through the core principles of our faith traditions

With a very important distinction with the growing trends in "post-religious" mindfulness and meditation, this project proposal invites the rediscovery and the engagement of our heritage spiritual spaces and places of prayer and worship.

 

Through both the infinitely unique nature of our personal narratives AND the symbolism and metaphor of our faith traditions, we can integrate (transcend and include) all that we have inherited across the spectrum of traditions from shamanic, monotheistic, multitheistic, buddhist, to Taoist.

This project proposal leverages contemporary evolutions in the social sciences and anthropology, under the umbrella of practices of narratives Sensemaking. Sensemaking brings together both the personal and universal - the uniqueness of our individual contexts, whilst offering an interpretation and narratives mapping across the universals: such as what are the perennial polarities that the human condition is faced with, and constantly navigating.

 

The interpretation process helps us see patterns and make connections across our narratives. A key part of the methodology is in self-signification, i.e. the narrator reflects and interprets themselves their narratives, offering a moment of guided reflection.

Four Key Activities Of The Project:

  1. Identifying seven countries and seven diverse places of worship.

  2. Connecting with local artists

  3. Sharing a portrait practice guideline that includes 'unconditional video witnessing' portraits (see www.interiortruth.com), and creative painting / sculpture portraits. 

  4. Intercultural/Interreligious art collaborations to create sculpture installations in places of worship/faith traditions

    • First installation of 15-20 portraits and sculptures in SW France church location identified.​

  5. Filming 20-30 video portraits across the faith traditions, based on an innovative intimate 'witnessing' approach (ref. John Oliver's InteriorTruth.com video platform)

  6. Creation of an interactive video portal, based on previous narratives sensemaking projects

  7. Outreach and dialogue across institutions

The total fundraising target is €66k, with a budget detailed below.

Introduction

Introduction and Background

This proposal is inspired by a conviction that our social challenges from the environment to inequality, will require new ways of living together and significant shifts in how we understand our world, invite dialogue and make choices.

My 30 years of professional experience has included research and employment in the alternative economics movement (including working for 4 years for the charity set up by E F Schumacher, author of Small is Beautiful), diverse schools of philosophy (including Integral Theory, meeting Ken Wilber in 2008 for his input into a book project) and social complexity sciences (partnering with Dave Snowden for a series of corporate projects, author of the Cynefin Framework, among the most internationally cited complexity sciences frameworks), 

Integrating these experiences and inspirations, I have felt a powerful draw to develop my artistic / creative practice, with a manifesto that draws on how art evolves across the generations (including as a collective practice) and can be a key force for demonstrating how aesthetics can federate a fragmented society.

We are an evolving species, and the evolutionary purpose of art is one of abstraction, narrative and sensemaking.

Art however is on its own journey and has its extremes (from the nihilistic, to the transgressive, to commercial artifice), and needs to evolve in working more consciously in collaboration with the sciences and religious traditions.

 

I am seeking therefore to situate myself as a 'complexity' artist, following an explicitly "conceptual-art" practice - in applying complexity principles a hermeneutic arc can be made from art's process of abstraction to the realms of science and religion, where exploration, sensemaking, codification and dialogue can flourish.    

Both Universalities And Differences - Convergent and Divergent

This art installation project is inspired by schools of thought such as perennial wisdom / traditionalism - observing the possible connections across religious and wisdom traditions. One example narratives map comes from Huston Smith's hierarchies of consciousness across inner and outer realms of reality - as detailed in the Philosophical Research section.

There is an essential tension between the polarities of universalities vs. differences that this project seeks to hold, and propose that such a tension can be a generative one.

 

Observing common patterns from the curation of the symbols, images and narratives from the spectrum of world religions and wisdom traditions (e.g. a type of empirical convergence) is not intended to unify, collapse or devalue their differences (e.g. unique aesthetics and divergences) - quite the contrary.

In triangulating across the arts, sciences and religions (The Beautiful, The True and The Good), this proposal seeks a path to celebrating our differences and discover new capacities to hold the tensions and dialogue between them, 

The gift of the creative arts is its invitation to the power of our collective contemplation and imagination, an essential ingredient for creating new better futures for society.

Goals

Goals of the Art Installation and Video Project

The outputs of this art installation project can be summarised under the following key areas:

  • SCULPTURES: 15 - 20 sculpture installations in the grounds of the Chapel Saint Esprit, Pyla (Gironde, South West France),

    • Following the initial installation, partner art sculpture installations of this first collection are to be proposed to:

      • Diverse faith tradition places of worship in Europe

      • Secular prayer locations, across airports, hospitals, universities and community/public locations.​

    • Collaborations with local and representative artists will be sought at each partner location​

  • VIDEO NARRATIVES: A video / documentary platform based on portraits / narratives across faith and wisdom traditions. 

    • 20 to 30 video portraits / narratives that relate to the borders between the creative experience and the faith traditions ​

  • DISCOURCE / SENSEMAKING PORTAL: A digital reflection portal, that guides visitors through a virtual visit of the art works and an interpretation / reflection process.

    • Curation of a portal for exploring and CONNECTING the video narratives

    • Capturing and mapping visitors' responses as narratives will create a rich resource for collective sensemaking and dialogue.

​​

  • OUTREACH CAMPAIGN: Through international bodies and associations working on similar themes of integrating religion, science and art (academics, universities, think tanks, charities, art galleries)

Guiding Principles, Vision and Values​

  • The project seeks to establish new connections across geographies, ethnographies and technologies

  • Its founding principles are in the celebration of our traditions and heritage from all corners of the world, and an invitation of inquiry and dialogue versus the espousing of any one belief system, doctrine or creed. 

  • The project seeks to hold the paradox of through celebrating our differences, we may discover a common ground of social flourishing*; through celebrating our traditions, we may open the imagination for consciously designed futures. 

 

*This is a direct reference to the Integral Theory (Ken Wilber) concept of evolution being made up of both greater differentiation AND integration.

1st Planned Art Installation Location: Chapel Saint Esprit, Pyla, Gironde, SW France - discussions have started for collaboration in hosting the art installation

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Twin or Installations: diverse faith tradition places of worship are being approached for the art works installation "twin" locations, in collaboration with local artists 

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Including approaching secular prayer room locations, for example at airports, universities and hospitals.

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Art is the highest form of hope

Gerhardt Richter

Budget and Fundraising

Budget and Fundraising
The project is structured in three project phases: 

  • Phase I - Narrative Installation in SW France (church identified)

  • Phase II - Narratives filming and editing (with 20+ interfaith video narratives) 

  • Phase III - Digital sensemaking portal - narratives, interpretation and dialogue

The initial phase for the creation of the sculptures is €6,000, with Phases II (video narratives) and III (digital sensemaking portal) detailed below

Detailed Budget

Below is an outline budget of the key art work and video creation processes, plus the communication/outreach and support/advisory resources. The total estimated budget for all three phases is €33,000 over 18 months.

Phase I (Sculptures) = €12,000

  • Shared workshop and studio space (4 months) = €4,000 

  • Time and materials (woods, paints, consumables) = €6,000 (Note #1)

  • Support and advisory - €2,000

Phase II (Video Narratives) - €28,000​

  • Video work (travel for filming) = €8,000 (Note #1)

  • Video editing = €16,000 ((Note #2)

  • Communications, website hosting and outrreach - €4,000 (Note #1)

 

Phase III (Digital Sensemaking Portal) - €26,000

  • Portal design = €4,000 

  • Development Time = €8,000 (Note #1)

  • Video analysis, signification, integration  = €4,000 (Note #1)

  • Video language processing and subtitles = €4,000 ((Note #2)

  • Communications and outreach - €4,000 (Note #1)

  • Support and advisory - €2,000

#1 Includes covering the artists time

#2 Based on using freelance software developers previously used in corporate client work

 

Total fundraising target of €66,000

A more detailed budget is available on request.

Art Works

Art Works

The creation of the art works / sculptures for this installation is planned to start in March 2022, as a unique series dedicated to this particular site. The works will be for sale with a share of the profits going to a renovation fund for the church.

The art works willl draw on the experience of the creation of 20+ sculptures for a forest art walk that I created during 2021, An introduction and virtual visit can be seen here, with an interpretation and reflections guide book that can be downloaded here (currently in French).

The forest art walk has as its core purpose the facilitation of group visits, and collective interpretation, signification and dialogue processes.

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Thematic References: Wood panel collage by John Olver (work has been sold to a private collector) - themes of evolution, time horizons and circularity that are central to my art practice's exploration of the Arts, Sciences and Religions..  

Creating and Curating an Experience

Abstractions expressing the deep structures of the human experience should be lived or experienced rather than analysed intellectually (quote from the French-American polymath Dane Rudhyar (1895-1985) who was close to the theosophical movement and part of the Transcendental Painting Group in New Mexico.

In this spirit, the focus is in creating a carefully curated space that combine both artefact (the art works), video and movement (immersive):

  • Artefacts

    • Paintings and sulpture - Across themes of evolution, portraits and sacred geometry and abstract forms 

  • Video

    • Multimedia screens / QR codes to video narratives landscapes from the www.InteriorTruth.com library - see the Video section below

  • Movement​

    • Walking - Paths between polarities layed out across the ground of exhibition space, 

    • Immersive furniture - Inviting people to sit down and take the time for contemplation

All of the above designed with an element of play and discovery, in the experience of entering the exposition.​

Video Narratives

Video Narratives - Connection Through Intimacy

Building on John Oliver's work with the video portrait portal: www.InteriorTruth.com

Narratives are an essential dimension to how we observe, make sense and choose to act in the world. The practice of gathering, interpreting, signifying and leveraging narratives not only has its roots in centuries of anthropological and sociological research, but is now being broadened into contemporary applications in organisational studies and economic analysis (ref. Robert Schiller and his latest publication "Narrative Economics" 2019).

Video Narratives Proposal:

  • Curating narratives across faith traditions and diverse cultural backgrounds.

  • Initial concept focus of filming artists from as many religious traditions is currently in progress with 20+ films.

Making Sense of the Perennial Wisdom Map Through An Interactive Video Narratives Platform

  • Below is an image of a mock-up of one example of how we can spatially navigate video narratives, thanks to 'Sensemaking' maps. 

    • Building on my experience in text-based Sensemaking narratives maps, that have been developed and deployed for multi-national corporates by John Oliver in his organisational development consulting roles. ​

  • The maps provide a rich and powerful lens in terms of how we can signify the narratives.

  • The choice of signifiers and their combinations are themselves major topics of anthropological and philosophical inquiry, and their development will be a key part of the project. 

  • An interactive video map would be a unique software development, creating innovative value that complements the narratives initiatives of pioneers such as French artist JR (collaboration with Time Magazine and US prisons), Yann Artus Bertrand (narrative films "Human") and Brandon Stanton's "Humans of New York", as described in detail here.

    • ​​Current Project Methodology Inquiry: Is it possible to evoke the various points on the Perennial Wisdom Map from Huston Smith, through narratives, and especially those of artists/creatives across each of these traditions?

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Mockup of video narratives portal: The narratives are signified according to multiple dimensions of interpretation and navigation

Integrating Rich Media (Video Narratives) and Sensemaking

 The project proposal is to combine the potential of rich media with important anthropological and narrative sensemaking principles - from the school of complexity, sensemaking offers a powerful approach to exploring qualitative data from authentic and unique narratives.. 

In parallel, the opportunity that video narratives provide through the depth of transmission and connection is an essential component to this project, increasing the potential of engagement with audiences and potential impact. 

The video narratives are being filmed using an intimate 'witnessing' approach (I trained in 2019 with Nick Askew and his 'Soul Biography' approach). 

The positioning of this project builds on leading examples of narratives landscapes by artists and activists around the world, as listed here: https://www.interiortruth.com/landscapes-and-dialogue

Progress So Far in Gathering Video Narratives​

20+ Video narratives so far

Since 2019 I have been filming principally artists, with a library of over 20 portraits. The feedback from the film subjects is that "witnessing" approach is racially different to any interview or filming that they've done before. Below are some examples from my www.InteriorTruth.com website.

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From Intimate Video "Witnessing" Narratives To Constructive Dialogue

An exciting discourse in social development is how broad dialogue across diverse cultures, traditions and roles, can arise from connecting our deep interior narratives. Important voices include authors such as Bill Isaacs (Dialogue and the Art of Thinking Together; 1999 and the scientist David Bohm (On Dialogue, 1996).

 

But their visions have not yet been associated to the potential of larger scale rich media content, heralding a new interpretation as to what "social media" can become.

The potential to connect our intimate narratives presents, not only allows for people to appreciate our universal human values, but also to hold and appreciate the diversity of those that may hold views that are very different to ours.​

The video narratives library and the video sensemaking portal in this proposal present concrete advances in these visions for the future of a truly cross-cultural, cross-faith self inquiry, reflection and dialogue. 

Rethinking social media

Lastly, there is an opportunity for us to think of this rich video narrative content to represent a pivoting of the values embedded in our current social media to their constructive opposites:

  1. from Disposability to Timelessness 

  2. from Compression to Deepening 

  3. from Curation to Creation

  4. from Self-Promotion to Self-Awareness

The above are inspired from Jonathan Harris' elements of the future social media - see the landscapes and dialogue page from InteriorTruth.com here.

 

The Value of Meta Analysis and Signification of the Video Narratives

Revealing Patterns - Making Sense of the Whole

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The spectacular advancements in our modern society have brought about increasing specialisation and by consequence fragmentation. An irony is that we are hyper-connected in this always-on, anywhere, instantaneous social media defined era, yet isolated in the highly segmented structures of our socio-economic strata and large scale optimised institutions and organisations.

Making sense of the "whole" becomes more and more challenging. We are increasingly subject to disguised influences from commercially driven forces that while consciously challenge national and international legal controls, seek to steer our behaviours at deeper and deeper levels through algorithm-optimised content curation. How do we reclaim our independent critical faculties, and see the greater picture across the socio-economic-political and faith domains? 

Multi-disciplinary roles in our societies that can help us on the larger meaning map making are still a tiny minority, and face the challenge that one PhD candidate friend in the US heard from university supervisors "you can't get a doctorate qualification as a multi-disciplinary / integrative / synthesis student, since there is no faculty able to judge your work".

 

The complexity of our social contexts can be overwhelming, only to increase when adding the different language and worldviews between the realms of the arts, sciences and religion.

The artistic lens is all about higher levels of abstraction in order to identify patterns - this sensing of the whole, and integration of the arts, sciences and faith traditions was at the heart of William Irwin Thompson's vision at the Lindisfarne Association.

Moiré Patterns:

Emerging from integrating multiple perspectives. This project's goal is to explore such patterns from the video narratives.

To that end, the project includes a meta-analysis and signification of the video narratives, in order to offer the opportunity to identify new patterns. Following important sensemaking principles, the signification process importantly will be lead by the narrative subjects themselves.

As evoked by the cultural historian and visionary William Irwin Thompson, by integrating dialogues across the arts, sciences and religions, we have a unique opportunity to identify Moiré type patterns emerging, and invite a new level of understanding and consciousness for choices in our society.

​The Architectural Research Question

The creation of spaces for contemplation and Interfaith dialogue by definition will draw on the socio-architectural perspective. A directly relevant study of the future of multifaith spaces has been addressed in the Liverpool School of Architecture paper by Andrew Crompton (2013) with the provocative title: "The architecture of multifaith spaces: God leaves the building,"   The Journal of Architecture, 18:4, 474-496, DOI: 10.1080/13602365.2013.821149

Key quotes:

  • There are often at least six of traditions represented in multifaith worship locations: Christianity; Islam; Judaism; Hinduism; Sikhism; Buddhism

    • more often nine: adding Jainism; Baha’I; Zoroastrianism. From time to time Taoism and Shinto appear, as do Native American religions; Pagans; Druids; Adventists; Humanists—not to mention people of no faith who are sometimes represented by a blank space

  • These universal interfaces with God are not, as one might have thought, a sublime expression of a deep unity of which individual religions are merelya particular expression. Here is a building problem for which architects seem to have no answer. Are these blank white rooms even architecture at all?

    • Why is it so difficult to transcend different faiths and create places that are sacred for all?

Multifaith Contemplation Rooms in Art Galleries Today - sparseness and void

Below are images taken of the Tate Britain and Tate Modern (both in London, UK) interfaith and contemplative rooms, in 2022.

An Art Gallery Experience Inspired by The "Temple' That Hilma Af Kliny Imagined

 

Art's Spiritual Significance Translating To A Gallery As Temple

The fascinating synchronicities around Hilma af Klint's record-breaking exhibition at the NY Guggenheim (Oct 2018 to April 2019):

  • An instrumental figure in the founding of the Guggenheim Foundation and Museum, Hilla Rebay, having a deep background in perennial philosophy /  theosophical thought

  • She envisioned of a “museum-temple,” where viewers could commune with abstract art.

  • Hilla Rebay and Solomon Guggenheim's commissioning in 1943 of Frank Lloyd Wright to create an innovative design with open plan and ramp spiraling toward the light serve as a physical manifestation of the utopian ideals of nonobjectivity. 

  • af Kilnt used the image of the spiral to denote progress or development....how appropriate that her first major exhibition should be in such a temple like space speaking directly to development.

 

Sacred Art Space as Echoed From the Rothko Chapel to Alex Grey's Chapel of Sacred Mirrors to Theaster Gates' Bristol UK Sanctum​

PROJECT ADVISORS
Confirmed advisors for the project are the following researchers, artists, academics

Project Advisors

Return To Sponsors

Sponsors' Catalogue, News Channel and Acknowledgement

All sponsors will receive:

  • Personal newsletter with access to video blog reporting channel, behind the scenes during the development process each 3 months.

  • Sponsor acknowldegement plaque displayed at the exposition

  • Signed eposition catalogue

 

For Sponsor Contributions Minimum €1,500

John Oliver Profile and Journey

My art and film practice is relatively new, dedicating myself fulltime from 2019 - but the seeds go back over 15 years, from the point of view of both a practical practice (working with my hands) and philosophical foundation,

My 30 years of professional life enriched me with such contrasts as working in both corporates, charities and then self-employed (for 10 years), and working internationally (degree studies integrated with an aerospace management development programme in the UK, then employment in France, Germany, Nepal, Ghana, the USA and 18 months living in Italy).

In terms of the evolution of my work experience, I started in technology (from aerospace to satellite communications) to then commercial strategy and most recently as a co-founder of a organisational development consulting brand Human-Equity (2009-2019).

In organisational development, I revelled in the deep dive and personal challenge (in changing my mental models), working with leadership psychology, organisational culture and complex social systems change, that also led to a university lecturing position (in Toulouse, France). Working with narratives was a connecting thread through many diverse projects on the consulting journey with Human-Equity.

The desire to seek new experiences and learnings along the way presented its challenges and struggles, but now holds a strong coherence as I make this distinct pivot to an identity as an artist.

This proposal draws on all my experiences and passion for how the arts can engage practically. The anthropological lens in working with narratives has been a major influence (including academics such as Tim Ingold, connecting the principles of anthropology with the arts), where a conviction that the sciences, arts and faith traditions can be seen as a whole has become a defining frame for my next chapter.

For an overview of my professional experience, please see my LinkedIn Profile:

  • LinkedIn
In the garden shed - John Oliver
Produced by: Malthouse Films

In the garden shed - John Oliver

The 15 Year Itch - Art as my central practice

This art project has undergone a number of evolutions in its conceptual form, whilst maintaining the foundational vision of bringing to life an art project that embraces crucial philosophical and sacred themes for our society.

Originally called "Philosophy in the Flesh", my idea was to bring together 10 philosophers, who would describe their ideal work of art - as if they had carte blanche as an artist themselves, whatever the media. I would then bring 10 established artists together for the realisation of those works. 

 

I've brought the scope now to the more immediately accessible approach of working from published key philosophical works, and that I take on the practical realisation of the art/film work.

The chosen conceptual cornerstone is the Perennial Wisdom map by Huston Smith, charting how the major religious and wisdom tradition share the same underlying structures of both interior (individual) and external (nature) worlds.

The seeds for the idea came from discovering the writings of Ken Wilber in 2003, the contrasts in my family's spirituality (deeply catholic mother, atheistic father (with interests in literature and philosophy) and an ordained Buddhist darmachari brother), and my professional work in organisational development (working with developmental psychology and complexity sciences).

Examples of Explorations in Sculpture To Date - New, Unique and Collaborative Works Will Be Developed For This Project At Each Location

Art Work Refereces: Sample of previous sculpture creations by John Oliver (part of a collection of 20+ installations for a forest art walk in SW France)

My Journey in Developmental Psychology, Organisational Development, Social Systems Complexity and Narratives

Having focused heavily on the sciences in my education, a revelation during my engineering studies at university in the UK was reading E F Schumacher's "Small is Beautiful". A fascination of the crossroads of developmental economics, ecology and social justice/equality triggered my organising a conference at the university on climate change (in 1991) with the participation of a leading UK media figure, and leaving the aeronautical sector I was bound for (after 2 years of accelerated management training), to join the overseas developmental charity that E F Schumacher had founded.  

4 years at the charity with projects in Ghana and Nepal however brought me face-to-face with the realities of social change, especially in the context of contrasting cultural value frameworks (e.g. our definition in the West of the "Good Life", development or social progress can't be projected onto other cultures without inherent biases).

I therefore returned to a mainstream career path in industry, working in France and the USA, to go onto completing an MBA in 2001. Whilst working in a Start-Up for 4 years, I continued a track of research started at the MBA into a variety of company turnaround case studies, that emphasised self-organisation and democratic principles. My differentiation was intended to be in the longitudinal nature of the case study interviews, which however revealed that my idealistic initial hypothesis of the universal 'good' of democratic principles in organisations, as being highly flawed.

 

The language and frameworks however of Ken Wilber's Integral Theory provided a powerful approach to interpreting the complexity, tensions and contradictions in my case study research findings. In 2008 I went to visit Ken Wilber in Denver to discuss my book project using the developmental lens (5 years before a very similar case study book by Frederick Laloux, "Reinventing Organisations"). It was apparent to me that although I could explore lots of fascinating angles with the Integral Theory lens (All Quadrants, Levels, Lines, States and Types), my book project didn't have a convincing hypothesis or robust approach to the research data validity claims (interviews with visionary turn-around CEOs were more prone to propaganda and biases in contrast to the social research vigour I was trying to aim for). 

 

I summarised the research on the "Organisation5point0.com" website, and moved onto to 'being in action' with regards actually working hands-on with organisations in organisational development and business psychology, founding the boutique consulting company Human-Equity Ltd in 2009.

It was during this time that I qualified as a coach using the Post-Piagetian developmental psychology tool from Lectica USA, based on very robust metrics on how adults' cognitive capacities can develop (for whom Wilber was an advisor, and built on extensive academic research from amongst others Kurt Fischer's Dynamic Skill Theory, from the Harvard Graduate School of Education). 

The journey as a consultant with Human-Equity Ltd was full of deep learning and often times painful lessons in engaging with clients on complex topics, whilst ensuring the commercial viability of the offer. However, it did lead to an incredibly rich intellectual journey in collaborating with thought leaders in complexity sciences for client work.

In particular, and in distinct complement to Integral Theory, was applying Sensemaking principles for change projects, leveraging narratives and anticipating agents' biases. I was delighted to be bringing anthropological and sociological insights to our practices, and challenging the dominant 'engineering' mindset to organisational management.

 

What became clear however, was in all of my organisational development work I saw dangers in how supposed deeper understanding of employee behaviour and psychology, under the guise of 'making the workplace more humanistic' could lead to greater encroachment of the organisation in "designing" the employee experience for the ultimate its commercial ends.

There seemed to be often a conflation of 'aesthetic' choices for the human experience in organisations that were only justifiable if they improved 'performance'. 

The Role of Aesthetics

Although a very robust cognitive sciences tool and metric, my experience with Lectica revealed first hand the limitations of the cognitive development dimension (people can reflect in very high-order complex ways about morally corrupt concepts).

 

More broader 'ego-development' tools (for example Bill Torbert's Leadership Development Framework, Susan Cook-Greuter's extension of Jane Loevinger's research) do seem to incorporate a more integrated whole-person measure (see last section* here, evoking the higher stages of ego and notions of greater breadth/depth of consciouness, towards descriptions that resonate with many writings on spirituality), but still, the aesthetic dimension appears little explored.

Hence my conviction of the opportunity to complement this field of the human potential movement, with a deeper exploration of spirituality and the arts.

*Footote to the reference to Jane Loevinger above:

The ego development map proposed by developmental psychologist Jane Loevinger (1918-2008) conceptualizes a theory based on Erik Erikson's psychosocial model and the works of Harry Stack Sullivan (1892-1949) in which "the ego was theorized to mature and evolve through stages across the lifespan as a result of a dynamic interaction between the inner self and the outer environment". Loevinger's theory contributes to the delineation of ego development, which goes beyond the fragmentation of trait psychology and looks at personality as a meaningful whole.

See Ken Wilber's Integral Psychology for an extensive curation and comparison of developmental models

John Oliver - Profile

Research and References

How the Sciences and Arts Can Provide a New Life To Multifaith Contemplative Spaces

 

Building a bridge between art gallery spaces and places of spiritual worship, prayer and contemplation.

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Dictionary definitions of Religion (latin religio):

  1. relego, relegěre = assmble anew, gather anew

  2. religo, religāre = to link, connect

Recognition by human beings of a higher principle on which their destiny depends; resulting intellectual and moral attitude

Mapping the internal and external levels of being and consciousness across the world's religions. Huston Smith, with graphic by Brad Reynolds (advisor to this project)

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Dr Peter Merry - Table "The Trinity Across Different Traditions" Extract from 

"Volution: An integrative theory of the holographic and trans-linear dynamics of life"
Submitted in partial fulfilment of the requirements for
The Doctor of Philosophy Degree
Wisdom School of Graduate Studies
Ubiquity University
Mill Valley, California
30th June 2017

Building on Ken Wilber's books the "Marriage of Sense and Soul": and "The Religion of Tomorrow - A vision for the future of the great traditions"

  • Are we throwing out the aesthetic senses of the divine and sacred (e.g. the rituals, symbols and myths of our traditional religions) with our eagerness for absolute rationality in this age of science?

    • Yes, the traditional myths and scriptures of the great traditions might not be scientifically true, but what universal aesthetic value do they represent?​

  • Art takes us to the 'edges' of human consciousness but how might it play a role in the evolution of consciousness?
  • Is our generation still in the process of making sense of modern / abstract art - and might abstraction point to the universal structures underlying the human experience and spirituality?

  • Can we map the evolution of art, and where might it point us to next? 

This art installation project aims to catalyse social discourse on the topic of perennial wisdom - the insight that all religious and wisdom traditions point to the same fundamental metaphysical truth, or 'deep' structure of the human experience.

Curating symbols, images and narratives from the spectrum of world cultures, religions and wisdom traditions, a "meta" map of the perennial wisdom idea can be brought to life. 

A key map or landscape chosen to guide this project is from Huston Smith (hierarchies of consciousness across inner and outer realms of reality) to invite a conversation on how might individuals and society evolve across such a concept of wisdom.

Research

A Connection to My Ancestors - The Debate of Arts, Science and Religion in the 19th Century

What Brought Me To These Themes Behind The Art Works?

When reflecting on this question an immediate influence that comes to mind were the stark contrasts of worldviews within my family - my mother a devout practicing Catholic (having convered from Anglicanism in her 20s); my atheist father, and my ordained dhamachari Buddhist elder brother.

However, I've always had a sense of how the deepest questions in life also were at the heart of my Great Great Grandfather's artistic journey (John Brett 1831-1902). As part of the Pre-Raphealite Brotherhood, he had close ties to the prominent art critic, mentor and patron, John Ruskin. 

The artists of the mid-to-late 19th century were experiencing the first dynamic of threat or reinforcement posed to traditional Christian belief by the advances in the study and sciences of astronomy and geology.  The enhanced appreciation of the vastness of the cosmos and the long aeons of geological time were creating a polarity of increased exaltation of God's creation, or, proof of his non-existance.

 

Of course Darwin then firmly establish the scientific principles of inquiry and understanding within the field of biology with his publication of On the Origin of Species, in 1859 - exactly at the same period that my Great Great Grandfather was establishing his career as an artist.

An ‘eternal note of sadness’ at the loss of the possibility of finding divinity in nature, the loss of religious faith, and disillusionment with human progress (1) was felt by many artists-as-observers and critics, Indeed John Brett who was a devout Christian at the begining of his career, was later to loose his faith. John Ruskin too experienced deep struggles with his faith, creating distress and depression (2),

At the heart of my art project above, is a call for a renewal of asthetics, that transcends and includes the sciences, and therefore I hope, in some small way connecting to my Great Great Grandfather's journey, and bringing my mother's, father's and eldest brother's perspectives onto the same sensemaking landscape of the human condition.

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John Brett - Autoportrait 1883

  1. Quote from Christiana Payne, ‘Art, Science and Religion’, in Christiana Payne (ed.), In Focus: Pegwell Bay, Kent – a Recollection of October 5th 1858–60 by William Dyce, Tate Research Publication, 2016, https://www.tate.org.uk/research/publications/in-focus/pegwell-bay-kent-william-dyce/art-science-religion, accessed 19 October 2021.

  2. Malleson, Michael L (1992) John Ruskin his theology and faith, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/5767/

ANNEX SECTIONS

RESEARCH TOPICS FOR THE ART WORKS

 

Charting the Developmental Path of Spirituality Through the History of Art

Applying scientifiic principles to the macro picture of evolution, spirituality and art (aesthetics and creativity)

My personal interest in these two lenses of art and spirituality is through my great-great grandfather being part of the Pre-Raphaelites Victorian art movement, and what they represented in terms of the evolution of art (breaking away from formulistic, mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo).

How art reveals the evolving edge of human thinking: Ref. Leonard Shalin (Art and Physics)

Wilber's critique of Houston Smith - missing the developmental trajectory of consciousness

Inquires and Hypotheses:

  • What is the visual and felt experience when seeing the curation of symbols, images and narratives across such diverse cultures, wisdom traditions and religions in such proximity?

  • Is there an "arrow" of spiritual development or evolution?

    • With the shadow elements at each developmental level creating turbulence, how reliably can we even evoke a notion of developmental directionality?​

  • What happens when such a development becomes conscious of itself?

  • Is there an opportunity to create new types of social / community spaces based on the principles of universal spirituality, supported by the creative / arts lens?

Trajectory of spirituality in art

  • How can scientific principles be applied to art and spirituality?

  • Is the notion of hierachies, trajectories and development the scientific perspective?

Counter Hypotheses

  • Development / evolutionary ideas are value-laden and inherently biased

  • The artist's bias is inherent in the motives and framing of the project (caucasian, middle-class male)

  • Interfaith initiatives such as this are a form of spiritual materialism, cherry picking and skimming each faith/tradition, from an oberserver's vs. practioner's perspective

Exploring How the Development of Consciousness Happens in a Relationship Between Inner and Outer Realms

The dynamics of polarities in development

Taking for example the perennial wisdom map of Huston Smith charting the Outer realms of reality (social, physical universe, gaia) in the upper half and Inner realm (interior consciousness) across the religious traditions, hypothesizing on the human experience of these two halves of the circle being in unison (i.e. to experience the fundamental unity of the universe, one has to develop a deep, inner consciousness)

Ego Death-Rebirth Cycles On The Path of Development

And how the creative process is a uniquely powerful avenue to experience the generative cycle of ego death and 're'-connection of body-mind-spirit

The creative experience as a painful, challenging and humbling journey.

  • Getting past the stereotypical image that the creative spirit only comes from people who lead risky, troubled lives, involving for example drugs - trauma and drugs can certainly plunge people into the urge to be creative, but it is certainly not the only route.

  • Contrasting this to the archetypal reading of individual personalities...naturally creative personalities vs. analytical / pragmatic archetypes

Navigating the Good, the True and the Beautiful

 

Discerning perspectives between the arts, sciences and moral (political) spheres

 

By helping to clarify from which validity claim our discourse is coming from, we can appreciate the creative tensions between them, as compared to the outright wars that tend to take place.

Putting forth the idea that even though initiatives in dialogue between the arts and sciences are bold and important steps, for civic discourse to be effective, all realms of the Arts, Sciences and Morals (culture, politics/justice*) need to be held together.

*"Justice" has been proposed by Integral community researchers as a separate, 4th quadrant domain from the moral quadrant.

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Art Works Mockups and Prototypes by Tyler
The Good, the True and the Beautiful - Catchedral alter in Perigord, France; London Southbank office block; Giant Sequoia tree

The Unique Role Of The Arts In Both Individual and Social Development

Individual and socio-political-economic development have to work hand-in-hand

All art should have a purpose - a position that is often debated, but for the context of this project, art is taken to have a necessary didactic (in a positive sense vs propaganda), apolitical role, exposing our world through fresh, multiple and contrasting lenses.

  • Desribing the contemporary aesthetic crisis (Reclaiming Art - JF Martel)

  • Exploring the role that the arts have in terms of ego development

  • The creative experience as an ego journey (ref. Anton Ehrenzweig)

  • The spiritual journey uniting body, mind and spirit as an ego-death (ref. spoken to across traditions all the way through to the Matrix films)

  • Aesthetics as a developmental line (ref. Howard Gardner)

 

Catalysing Civic Discourse

Discourse as a developmental practice, essential to the future of our collective systems

Leveraging philosophical visions from Harbermas' Communicative Action to Neo-Piagetian developmental discourse (increasing levels of perspective), the goal of this project is to support and catalyse new levels of social discourse, as a means to raising collective consciousness.

  • Making the case for developmental trajectories (both individual and collective ref. Wilber)

  • Development levels as increasing consciousness

  • Key distinctions between individual and social developmental maps (ref. Integral Psychology)

  • Leveraging social narratives (and even making captures of micro-narraties into forms of discourse)

 

Driven by a conviction of the power of ideas and narratives (e.g. Robert Schiller in 'narrative economics)' to change attitudes, lives and the world (e.g. is global warming happening 'to us' or 'for us'?).

Annexes

RESEARCH PUBLICATIONS

Articles, Books, Figures, Films, Documentaries

JF MARTEL
Art is more than mere ornament or entertainment; it is a way, one leading to what is most profound in us. Reclaiming Art in the Age of Artifice places art alongside languages and the biosphere as a thing endangered by the onslaught of predatory capitalism, spectacle culture, and myopic technological progress.


CHARLENE SPRETNAK
This book demonstrates that numerous prominent artists in every period of the modern era were expressing spiritual interests when they created celebrated works of art. This magisterial overview insightfully reveals the centrality of an often denied and misunderstood element in the cultural history of modern art.


ANTON EHRENZWEIG
Ehrenzweig wrote The Psychoanalysis of Artistic Vision and Hearing (1953) and The Hidden Order of Art (1967). His ideas can be summarized as the discovery of the organizing role of the unconscious mind in any act of creativity and an analysis of the layered structure of the unconscious mind and of the dynamic mental processes which an artist undergoes in the creative act.


ALAIN DE BOTON
Religion for Atheists: A non-believer's guide to the uses of religion is a book by Alain de Botton published in 2012. It argues that while supernatural claims made by religion are false, some aspects of religion are still useful and can be applied in secular life and society.


BRAD REYNOLDS

Published by Integral World here.

ETHERIC CHRIST GLIMPSES

Blog entry by Bradford Riley. The etheric body, ether-body, æther body, a name given by neo-Theosophy to a vital body or subtle body propounded in esoteric philosophies as the first or lowest layer in the "human energy field" or aura. It is said to be in immediate contact with the physical body, to sustain it and connect it with "higher" bodies.

THE MODERN ART MUSEUM AS A PLACE OF RESPECTFUL DEBATE - Bordeaux Museum of Modern Art

"It is urgent that the museum become a peaceful place of dialogue and exchange. We must therefore reconfigure the relationship that we talk about geography, people, societal injuries, and give ourself time to discuss claims calmly on the modes of governance, the questions of representation and all of these subjects extremely complexes that talk about the schizophrenia of our lives. "She wishes to strengthen this debate on contact with the thinking of the artists, and go back so up to sensitive experiences works where interiority is intertwined and exteriority. Which implies another approach to the museum: "I would like to transform the large nave which refers to the cathedral, to the sacred, to the solemnity, to make it a more space close to the agora, to public space, because creation has evolved a lot and even more the uses that audiences make of it. I would like to substitute this image of gravity and of majesty to an image that unfolds toward a elsewhere which would be that of open speech, which does not dry up the debate but feeds it and constantly renews."

Research And References

Publications, Books, Key Figures

  • Claydon, David. Connecting Across Cultures: Sharing the Gospel Across Cultural and Religious Boundaries. Melbourne: Acorn Press Ltd, 2000, 83-94.

  • Dickson, John. A Spectator’s Guide to World Religions: An Introduction to the Big Five. Sydney: Blue Bottle Books, 2004, 17-46.

  • Along with the Hidden Order of Art the three classics of art psychology are Rudolf Arnheim's Art and Visual Perception and Herschel Chipp's Theories of Modern Art.

  • IPI    510    ‘Encountering    the    Other’ Term Paper Trevor Malkinson January 2015 The Ethics of Presence- New Paths in Interfaith Dialogue.  An extract: "Masao Abe who has been working in Buddhist-Christian interfaith dialogue for a long time, and has come to  the conclusion: “I insist that in religious    dialogue    today,    mutual    understanding,    though    always    necessary,    is    insufficient;    going    beyond    mutual    understanding,    interfaith dialogue    must    be    concerned    with    the    mutual    transformation    of    the religions involved"

  • Dietrich Bonhoeffer - considered one of the 20th century's greatest theologians 

Videos And Audios

Interfaith Organisations

  • Parliament of World Religions

  • European Council of Religious Leaders (World Council of Religions for Peace)

  • Faith, Art and Architecture https://faithandform.com/

Websites

  • Paul Smith and Luke Healy Integral Christian Network (ICN) www.integralchristiannetwork.org

  • ​The world’s first comprehensive online quantitative and qualitative encyclopedia of religious cultural history

    • https://religiondatabase.org/landing/

    • The Database of Religious History - DRH began as one of the flagship initiatives of the Cultural Evolution of Religion Research Consortium (CERC), based at the University of British Columbia in Vancouver. It now continues as an independent academic initiative, based at UBC but involving partners and collaborators from all over the world.

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