Sylvia Baeza www.examiner.com
Extremely gifted people, dancers among them, are developing the psychic gift of telepathy as part of this evolutionary process so many of us refer to as our spiritual revolution. In The Conscious Universe: The Scientific Truth of Phychic Phenomena, Dean I. Radin writes that artistically gifted people might have an edge on apparently anomalous cognition, claiming that the connection between anomalous cognition and creativity is seen in their capacity for discipline and focus, and in the fact that artistically gifted people have unusual access to unconscious imagery, along with unusual freedom to bypass the barriers that prevent such imagery from entering everyday consciousness. (p. 201)
As Radin explains it has been known for quite some time that the CIA used ESP to see distant strategic locations through government sponsored remote-viewing research, even if after millions of dollars spent the CIA officially declared that there was no value whatsoever to remote viewing. Similarly, successful entrepreneurs and investment analysts admit that psychic techniques, especially precognition, are beginning to play an increasingly important role on Wall Street. (pp. 201-226) Similarly we would expect that in the arts ESP my bring numerous benefits to artists. But are these really benefits?
Telepathy is describes by Radin as “info exchanged between minds without the use of ordinary senses.” Most artists who have developed these new abilities, may be unaware of where they come from, of their powers, how to handle them, and even more importantly that they may be transferring their own creative ideas to others, unconsciously. Just like a painter can communicate telepathically a landscape design, or a designer o new fashion trend, so the dancer/choreographer, in seeing an internal mental image of a movement may be allowing that image to be seen by others who are “tuned into” his or her telepathic wave. Choreographic and production concepts can also be taken, in their raw state before their creators ever have a chance to develop them and bring them to fruition on a stage.
Particularly artists who are “on the rise” or who are ‘in the zone” or in “flow” to use Radin’s terminology, become the target for unscrupulous minds. Just like a predator thief stocks a wealthy banker, assaults him and in matter of minutes gone are wallet and credit cards, so psychic pirates stock a brilliant mind for whom the stars have aligned in the sky and in matter of seconds gone are brilliant ideas, ground breaking concepts and an artist has become victimized.
Now, how do artists deal with the unexpected surprise of seeing their creative ideas implemented by others? The ramifications of ownership are compelling. Whose work is it? The artist who conceived the idea or the producer who put it on stage first? Is the artists who conceived the idea still free to produce it afterwards? Before we could speak freely about psychic powers, Carl Jung said ideas were stored in the collective unconscious accessible to everybody. Today we may claim that an idea could have been channeled simultaneously into more than one mind, but if none of the above applies, and people are actually utilizing their psychic abilities for piracy, then we are in the realm of theft of artistic property, which counts as intellectual property.
The situation calls for adaptation. The simplest and also most difficult change is those affected would be to open up to the idea of just giving their ideas away. Most people give willingly when it comes to giving; however, here they’re force to giving unwillingly, reluctantly, or grudgingly. The alternative provided by a lawsuit culture that clinches to ideas of “property ownership” founded on greed that only end up tearing a nation down is really no alternative at all. However, while the thing to do might be just to give, the need still exist to raise consciousness among the “takers” to develop a set of morals concomitant with the needs and rights of the “givers” in this epoch of spiritual transformation.
Though sad but true we live in a country where stealing has been the norm since its onset. Centuries of malpractice define this nation founded by people with “morals at risk,” (immigrants, many from dubitable backgrounds who ventured into a new world where the need for survival unfortunately became greed, inviting oppression for Native Americans, for African slaves, and most recently for immigrants from the southern borders.) In desperate times people do desperate things, and these are desperate times for artists, but that doesn’t make the wrong doing right, it only provides us with a framework for us to understand why we have developed into a nation where dishonesty has become the norm. The fact that others do it doesn’t make the wrong-doing right either. So are we going to blame it on the economy?
In times of transformation people are most afraid to talk about their experiences partly because of their lack of understanding or their fear to be ridiculed. The psychic powers that may have begun as an anomaly in the 20th Century may have become the norm today, and not only among artists. As Radin explains, “when the evidence for an anomaly becomes overwhelming, and the anomaly cannot be easily accommodated by the existing scientific worldview, this is a very important sign that either our assumptions about reality are wrong or our assumptions about how we come to understand things are wrong.” (p. 250)
One of the artist’s cradle has been since time immemorial the underworld. Art is more than often born from the bases instincts of humans, from their dark side. So does piracy, this Unfairness Doctrine, which has become an intrinsic part of our culture. However in a country which is on the path of cleaning its wrongdoing to others perhaps it is time to make an effort to reinstall the Fairness Doctrine in the psyche of America. It took one mind to see the wrong in slavery before everybody else followed. In Radin’s words: “When many minds think alike, the state of the world does indeed change.”
If you care to respond to this column do so. Perhaps it’s time to raise a hopeful voice to free the artists from what could become a chain of abuse. I will sing a melody. How many of you are willing to sing along, and sing loud?
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