I’ve written several times about the performance duo, Wild Torus: constantly traveling performance artists who have worked with other artists to further audience involvement in performance. In July, I was fortunate to get them to come to a video session in the Ridgewood section Queens. You can get a sense of what happened from the video below.

As you watch it, I suggest you think about three questions:

  • What do you get from watching?
  • What do you think the performers got from the session?
  • Would some type of performance art be valid self expression for you?

I’ll be holding another video session on the afternoon of Saturday, September 23 (2:30 to 5:30 p.m.). This session won’t involve smearing paint on our bodies. It will be an exploration of power, it’s effect on the person who has the power and on the people who give him power.

This session will be guided by a scenario called “The King Needs More Clothes.” In it, a generous king gives his clothes to his subjects; but when he has given everything, his courtiers demand more clothes until the king is overburdened with everyone else’s clothes. Our scenario is a starting point for improvisation. Every performer’s ideas contribute to the final shoot.

Doors will open at 2:10 P.M.

You are welcome at this event if you are at least eighteen years of age, are willing to be photographed with full nudity, and are willing to have this video be available for non-commercial display. You may bring guests if they also meet these qualifications.

Donations to help cover the cost of this event will be accepted, but not required.

Do you want to be part of the September 23 Video Shoot?

If so, please use Facebook to let us know you’re coming, or send a text message with your email address to 518-321-1356. I’ll send you the exact location of the session.

Creating a Tantric Mandala

October 24, 2016

At a retreat this past summer, I facilitated a ninety-minute workshops called Creating a Tantric Mandala. Here s how I announced the workshop.

Tantra is a Sanskrit term meaning exposition or teaching. In the West it is often used to refer to Hindu and Buddhist practices that use sex as a path to enlightenment; but tantra embraces much more than this, including meditation and chanting. Mandala is a sanskrit term for wheel or circle, and usually refers to a circular design used as an object of meditation. In this workshop you will create your own mandala by using collage (cut and paste), colored pencils, and oil pastels. You will start with a period of meditation with a partner, move to selecting various elements for your mandala by drawing or cutting out portions of photographs. You will then arrange these in a circular design and finally use this mandala as a meditative aid. No prior art experience is needed. A portion of this workshop is ideally done without clothing.

Preparation

Before offering the workshop, I had to create a collection of pictures that could be cut up for collages. I already had a folder of .jpg files from the internet that I had used as reference photos for my own drawings and for a previous workshop, Drawing What You Love. Most of these were from a site called Deviant Art. To this I added some photos I’d taken during a photo-shoot I’d done with two friends – one of them modeling with me and one shooting with my iPhone. In many of these photos, I and my friend were in the maithuna position, which is a position often used when there is an image in the center of a tantric mandala.maithuna4web

When I had assembled a total of about seventy-five images. My next step was to print them on glossy photo paper. Usually I printed each image twice, flipping the image horizontally for the second printing. Thus I had two pictures that were mirror images of each other. Sometimes I combined two mirror images into one file before printing.

cocksflipped4web

Now, all that was left was to gather all the materials I needed and set up the space I would use.

The Procdure

When the men arrived, we formed pairs and I asked each man to place his right hand over his partner’s heart and then his left hand over his partners right hand – a position known as the mudra of the heart chakra. We held this position for three deep breaths, all the time looking into our partners’ eyes. Then we changed partners and repeated this until every participant had worked with every other participant.

I told the group that the next meditation was best done without clothing, and everyone stripped. I had each man lay down on his back next to a partner with his head next to his partner’s feet. Each person had his partner on his right. I asked them to reach across and gently place his right hand on his partner’s cock and balls. The focus of the meditation could be either on the sensation of ones own cock being touched or the sensation of touching another man’s cock. We held the meditation for about ten minutes.

Still naked, we sat down at the work tables and meditatively began looking at the pictures I had printed. I asked the men to select three to five images that called out to them. When they had selected images, they took scissors and cut out the figures in the photos – sometimes a whole figure and sometimes just the cock and balls.

Next I had each man use a draftsman’s compass to draw a seven-inch diameter circle on a piece of colored construction paper and then cut out that circle Then they arranged their cut-out figures on the circle to form a design that would be bounded by the circle. It was okay to have a portion of the figure go outside of the circle, but that part would be trimmed off later. I pointed out that where two images came together in an awkward way, a third image pasted over the juncture might resolve this. (You can see this in the first of the three mandalas shown below.)

When each man had found the positions for his images, the next task was to use a glue stick to paste them to the construction paper, pasting the ones that went directly on the paper first, and those that might be partially on another photo next. After the pasting, one man used oil pastels to put spirals on the figures. They looked something like tattoos. The final step was to trim off anything that went beyond the edges of the circle and then paste that circle on a piece of Bristol board (a light cardboard) or on another piece of colored construction paper.

Using the Mandala

At the end of the workshop, we all sat cross-legged on mats and held our mandalas in front of us. We let our eyes rest upon them for a few minutes and then closed our eyes. I explained that a good twenty-minute meditation would be to hold a mandal and gaze at it for ten minutes, and then to close the eyes and visualize that mandala. If attention wandered, one should open ones eyes and look at the mandala for three deep breaths, then close them again and continue visualizing the mandala. Because of the time constraints of the workshop, we couldn’t do this, but each person would take his mandala home to use there.

Here are two mandalas I made – the first in preparation for the workshop and the second during the workshop.

mandalatwo

mandalaone

If you follow these instructions and make your own mandala, it may be right to show it to others or you may want to reserve it for your own meditation.

From May through December of 2013, I posted a series of articles created using active imagination centered on the figure of an explorer. I have recently been led to return to this type of meditation. The following is another episode that I recorded in 2013. If you have not read the previous postings with this theme, or if you don’t remember them, I suggest checking out my page, “Fantasy/Fables/Fiction,” where you will find links to all the postings with the theme of the explorer in chronological order. You probably find the series more interesting if you read the posts in the order that I created them.

___________________

I found it difficult to sleep that night. So much had happened. I felt very good, very positive; and yet there was so much that was confusing. Not the least of this was how the healer, Matta, knew so much about me. She seemed to know everything, and I wondered about things that she hadn’t said, seeing things that she hadn’t pointed out, she hadn’t dwelled upon.

Did she know my sexual orientation? Did she know my feelings toward other people, people I disliked. Somehow, I felt she did, but that that didn’t matter. I recalled a verse of Scripture where Jesus knew things about a woman that he met and she recognized that. Was Matta in some way another Jesus?

I wondered what kind of religion she had. At least it was one that taught people to be loving; because, of all else, I felt Matta was really loving – and by that I mean accepting, allowing me to be who I was and who I was not, not wanting me to be something different. I felt that I should go and look at Scriptures – Christian Scriptures – read more about Jesus; and yet I had no interest in conventional religion, and somehow something was saying this is not about conventional religion; this is about a spiritual man, the medicine man, who gave me the drugs that eliminated the parasites after a bout of diarrhea and delirium and who knows what. How did he know I had the parasites? My guide had referred to them as evil spirits. There was something I wasn’t quite seeing, and I wasn’t sure what it was.

I wondered if Matta could see evil spirits, if she thought of disease in that way. So I waited. At one point I almost called the Healing Center to break my appointment, but I knew I could not do that. Somehow this was exactly what I needed.

I was spending a lot of time now, as I had promised myself I would. thinking about the direction of my life, where I was going, what I wanted to accomplish – something I knew I could not do in the jungle, in the highlands, anywhere outside of the big city. While I was exploring I couldn’t really keep my attention, my focus, on internal problems; and something said “you must be an explorer of your own mind and accept this without question.” But still wondering what it meant to be an explorer of my own mind. I could do that just as well in my hometown in California or in El Paso or even across the border in Mexico. I wondered if it changed that much in fifty years.

In my May 30th post, “Being Wild with Wild Torus,” I wrote “I see in Wild Torus performers taking risks, inviting each other to take risks and inviting the audience to take risks. Do these risks help us know who we are? Do they help us be more truly what we are meant to be? Only by taking the risks can I find out.” In two days, I’ll be furthering my exploration with a second visit to the Torus Portal.

This time, I’m contributing a video to the evening. I noticed that between the live acts there were sections where performers were setting up and visual stimulus for the audience came from video projection. I’ve created about twenty-four minutes of video that will be used in this way. and here’s a short segment from it.

The event starts at 6:00 PM. this coming Saturday (July 2) at a basement space called “The Torus Porta,” 113 Stockholm Street (off Myrtle Ave.) in the Bushwick Section of Brooklyn. It has been billed as “The Closing of the Torus Porta” – the final event to be held at 113 Stockholm. The list of performers is long, with the last performances starting at 3:00 AM.

If you’ve been following my blog, you know that I have a Vimeo channel called Erotic Imagination, where I focus on videos that use nudity in staged and filmed performances. As I view them, I try to see what artistic truth is being presented or reinforced by the naked performers.

In 2012, a video by Dimitris Papaioannou, led me to discover that he was performing in Troy, New York. My reaction to his work is recorded on a blog post, “Acting as One

A week ago Saturday, was only the second time, that I’ve attended an event after seeing videos on Vimeo – this time after seeing “Morte Portus Vitae”

and “Bushwick Coal Mind,” –

two productions of a group called “Wild Torus.”

When I searched for “Wild Torus” on the internet, I found comments like these:

“All I could see were a number of sweaty, naked bodies covered in stickiness and powder.”

“I couldn’t distinguish between men, women, and blow-up dolls.”

“Let me tell you, “wild” in @wildtorus is a serious understatement. These guys are bat-sh*t crazy,.”

“I decided if I stayed one more moment I risked tumbling head-first into a DMT-fueled trip back to whatever the hell regrettable things I was doing at festivals as a teenager. And I wasn’t about to strip, which made things slightly awkward– clothing wasn’t optional here, it was seriously frowned upon.”

On the evening I attended, all of the spectators except two kept all their clothes on. One female performer was naked at the end, but no man’s cock was ever visible.

The event consisted of a number of acts crammed into a small space with only a few chairs – most of the audience standing or sitting on the floor. Wild Torus was scheduled for the last act of the evening. This evening, it wasn’t their act that took the prize for being “bat-sh*t crazy.” That came earlier, when bare-breasted Phoebe Novak, carrying a violin and two violas, stepped on a large pice of black plastic that had been put down to serve as her stage. From a box, she produced a number of pieces of broken mirror. She then got spectators to tape these broken shards to her bare skin.

Woman having fragments of mirror taped to her bare skin.

As she bowed her violin, and later the violas in turn, one of the pieces of broken mirror poked into her bare breast. I found myself wondering if the pain in the music was a direct result of this painful act of bowing or if she was using this pain to stimulate emotional pain of previous experiences. Suddenly, she called an end to her performance, gather her stringed instruments from audience members who had been plucking them, and moved into the adjoining back room of Torus Porta. There were a few drops of blood on the floor.

Most of the acts focused more on sonic phenomenon rather than visual, until the final piece – the work of Wild Torus itself. This started with the performance artist Rudi Salpietra singing with Marc Mosteirin accompanying him on a Korg keyboard. When I asked Marc afterwards if they had rehearsed, he said that it was entirely improvised, but that he had a close relationship with Rudi that helped make the song work. After the song, translucent plastic was rolled down on two sides of the performance space. This made it difficult to see the performers covering each other with poster paint.

Woman with paint, audience behind plastic

I moved out from behind the plastic to see better and later stripped to my briefs to let my body be covered with paint.

What is there to say about all of this? It’s hard to know. What I can say is that I see in Wild Torus performers taking risks, inviting each other to take risks and inviting the audience to take risks. Do these risks help us know who we are? Do they help us be more truly what we are meant to be? Only by taking the risks can I find out.

In the end, we were left to clean ourselves up as best we could. If I had designed the ritual I would have added a section where the performers and those audience members who were covered with paint clean each other up.

The performers of Wild Torus are now in Europe. When they return, I hope to further my exploration of their brand of wildness and to report on that exploration in this blog.

Cosmology in Art

May 7, 2016

Last summer, I had three three small watercolors on display at Saratoga Arts. Each measures seven by seven inches and is in a ten-by-ten-inch frame. All of the paintings, drawings and photos in the exhibition were in ten-by-ten frames in keeping with the theme of the exhibition “10 X 10 = 100” celebrating the one hundredth anniversary of the chartering of Saratoga Springs.

The three paintings are part of a series I call “Windows of the Soul.” They are paintings of images that have come to me in meditation, though the images have evolved during the course of making preliminary sketches and the final painting. I work with a cosmology that regards the universe as agapic – coming from love – as noetic – supporting thought – as morphogenetic – and as an electromagnetic-gravitational space-time continuum. Out of love comes thought, out of thought comes life, and out of life comes the world of matter, energy, space and time.

Warm-colored painting with curved geometric forms

Windows of the Soul, One

The first painting relates to the noetic world, with shapes that come from ten arcs.

Rays of creation from lower right into the created world in hte left andupper part of the painting.

Windows of the Soul, Two

In the second painting the noetic world, represented by streams of light coming from the lower right, gives rise to the morphogenetic – the world of life in the left and upper part of the painting.

Painting of plant=like form

Windows of the Soul, Three

The third paining represents something alive, something coming out of the morphogenetic world manifested as matter and energy in space and time.

Ancient City in the Desert with energy Pattern in the Sky

Windows of the Soul, Four

A fourth painting, not in the exhibition, shows a town or city in a desert, with something in the sky that represents the agapic-noetic-morphogenetic expressing itself through the human creation of the city.

Since the exhibit at Saratoga Arts, I have completed three more paintings in the series.

Forms suggesting hairless flesh

Windows of the Soul, Five

“Windows of theSoul, Five” expresses a morphogenetic field in abstract forms that have something of the quality of human flesh.

A city-scape with tall building surrounded by shorter buildings

Windows of the Soul, Six

“Windows of the Soul, Six” continues the theme of “Windows of the Soul, Four” but references a more modern city.

Sci-fi image of torus what could be a space shi at a conical dock

Windows of the Soul, Seven

“Windows of the Soul, Seven” has of a sci-fi element. Thus Windows, Four”, “Six,” and “Seven” together represent past, present and future.

“Windows of the Soul, Eight” and “Nine” are still works in progress. When they are completed, they will appear on this blog.

 

Last Saturday, we took another step in our development of the Pavilion of Imagination at Easton Mountain. My friend Dave hooked up a solar panel, controller, battery and convertor. When he clicked a switch, we had light.

This has led me to think about my own vision concerning the Pavilion of Imagination: as a place where men might take workshops, such as “Drawing What You Love” (described in my post of February 18) – as a place where they might draw and paint from their imagination – as a place where they might create video that would be part of my Vimeo channel, “Erotic Imagination“…. This is some of the creative activity I’ve envisioned for the Pavilion of Imagination.

But I realized, as I thought about the event of that day, that this project has been part of another vision I’ve had – that of Easton Mountain reducing its carbon foot-print nearly to zero. Carbon foot-print is “the total sets of greenhouse gas emissions caused by an organization, event, product or person” (Wikipedia). In practice, it is used to indicate the theoretical amount of carbon from fossil fuel that each person and institution consumes. We in the United States have a very high carbon foot print. Other countries have taken steps to reduce theirs. A jungle native has a carbon footprint close to zero.

My own involvement in efforts to create a world where everyone has a reduced carbon footprint has waxed and waned. I’ve attended workshops, marched in the People’s Climate March, posted on this blog, written for a Quaker publication, and registered for the coming Parliament of the World’s Religions, which I hope will make a strong statement on the necessity of combating climate change.

In the seventeenth century, Quakers were thought of as strange people – and we might find those Quakers strange today. They addressed people with “thee” and “thou,” words reserved for close friends and servants; they wore simple clothes; they refused to take oaths, pay tithes to the established church, or to haggle over prices – and with these simple actions they were a major force in bringing about freedom of religion, equality before the law, and integrity in business. Many Quakers today look to civil disobedience as a way to change the direction of society. Within my own lifetime they were part of sit-ins in segregated southern restaurants.

The problems of today may need new practices that will lead the world to a reduced carbon footprint. What will these practices be? They may be something as simple as the practice of keeping a hat on was in 1650. But I find myself wondering if we will find these practices before humanity suffers from a drastic climate change that could lead to the extinction of the human race.

Solar energy for the Pavilion of Imagination is one tiny step – but it’s part of my vision for a restored planet. Here are groups I’ve joined on Facebook that relate to my vision of a restored planet.

Please share your vision on Facebook, on your own blog, or as a comment to this blog.

In my post on June 6, I spoke of two workshops that I will offer at Easton Mountain during our next Summer Splash weekend, June 26-28: “Infinite Imagination” and “Video from Your Smartphone”

“Infinite Imagination” will be incorporated into the Friday-evening opening circle and will set the tone for the weekend. The video workshop will be on Saturday morning and will provide a background for those who want to create video later in the day. If you’re interested in video, check out the Erotic Imagination Channel on Vimeo.

In addition to these two workshops, Saturday morning will start with an hour of stretching and dancing that I call “Listening to Your Body (Sarong Dancing).” Two or three times a week, I spend a half-hour either alone or with others, letting my body tell me how it wants to stretch and move. Usually I start with ten minutes of stretching without music, using yoga stretches if I feel that’s what my body needs, or improvising my own yoga in the moment. I also let my body tell me what clothes, if any, it wants to wear. One time I was wearing a sarong tied in a knot. I loosened the knot and the sarong fell off. I picked it up, began tossing it in the air, and then seeing how many dance movements I could come up with that incorporated the fabric. The result was something like flagging, but not the same. I’m looking forward to seeing what the results will be when we try this as a group on Saturday morning.

One possibility for this weekend that excites me comes from two women who have an on-line magazine called “MAKE8ELIEVE” – yes, that’s an “8” in the middle of the name. They have issued an “open call for art/design/sound/video/action” with a theme of Homoeroticism (for their issue # 9). They have invited Arthur Gillet, a gay artist from Paris, to help curate this issue. You can read more about this on their call. If anyone coming to Easton Mountain is interested in working on something to submit to MAKE8ELIEVE, I suggest doing the exercise that’s part of my April 30th post. Indicate your interest as part of your answer to the question, “What fields of art interest you?” Even if you can’t attend the June weekend, if you do this exercise we may be able to incorporate your imagination into something for MAKE8ELIEVE.

In my February 18 posting, I described a ninety-minute workshop I did during Easton Mountain’s Winter Gay Spirit Camp. The last paragraph of this posting described a possible sequel workshop – Erotic Imagination. That idea has been expanded to include all types of imagination. The workshop Infinite Imagination will be part of the June 26-28 Summer Splash weekend at Easton Mountain.

You can help me create this workshop by doing a simple preparatory exercise. In this exercise you will create a set of instructions for you or someone else in the workshop to follow. Here’s how to do it.

Write three imperative sentences or three paragraphs each beginning with an imperative sentence. The first sentence or paragraph should begin with the word “Contemplate”; the second, with the word “Visualize”; and the third, with the word, “Express.” The third sentence or paragraph should not specify a mode of expression – like writing, drawing of movement – but rather focus on what should be expressed. It might simply be, “Express what you visualized,” or “Express how you feel when…”

I will transfer your three sentences or paragraphs to a five-by-seven index card. In an upcoming workshop, participants will be asked to select a card at random from all answers submitted and use the process of contemplate … visualize … express to create a drawing, painting, song, movement piece, poem, essay, sculpture or collage. Participants will have the option of working with their own card.

To make it easy for you to take part in this project, I’ve create a form for you to

  1. express your interest in this work and
  2. send me the results of your doing this preliminary exercise.

Click here to participate in the preparatory exercise. Your imagination will contribute to our work, even if you can’t be at Easton Mountain, June 26-28.

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