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A Liminal Experience Under the Surface of the Ocean

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A Liminal Experience Under the Surface of the Ocean UNIVERSIDADE DE LISBOA FACULDADE DE BELAS-ARTES APNEA A liminal experience under the surface of the ocean Janna Nadjejda Ribow Guichet Dissertação Mestrado em Arte Multimedia Especialização em Fotografia Dissertação orientada pela Professora Doutora Maria João Pestana Noronha Gamito 2021 DECLARAÇÃO DE AUTORIA Eu Janna Nadjejda Ribow Guichet, declaro que a presente dissertação de mestrado intitulada “Apnéia”, é o resultado da minha investigação pessoal e independente. O conteúdo é original e todas as fontes consultadas estão devidamente mencionadas na bibliografia ou outras listagens de fontes documentais, tal como todas as citações diretas ou indiretas têm devida indicação ao longo do trabalho segundo as normas académicas. O Candidato [assinatura] Lisboa, 27.10.19 RESUMO O trabalho é sobre uma imersão no oceano e em nós mesmos. A questão é: como podemos obter um efeito positivo por meio do oceano? O primeiro capítulo analisará os pensamentos antigos e contemporâneos do sublime; A figura do vórtice foi usada nas artes e na literatura para criar sensações sublimes, Immanuel Kant e Edmund Burke afirmaram que o sublime pode trazer um efeito positivo que será discutido. Uma sensação sublime diferente é a Liminalidade, que encontrei durante a Apnéia. Muitos artistas descrevem seu poder transformador, que será comparado à pesquisa médica científica. Mas a mensagem fundamental permanece: “A experiência sublime é fundamentalmente transformadora, sobre a relação entre desordem e ordem, e a ruptura das coordenadas estáveis de tempo e espaço. Algo se precipita e somos profundamente alterados.” (Morley, 2010, p.12) O segundo capítulo define Ambientes Imersivos em Artes e Apnéia. Após a experiência liminar comecei a treinar o desporto e aprendi a controlar minha mente e corpo de forma imersiva, o que trouxe à tona os conceitos: ponto do silêncio (preparação), jogo mental (submersão) e foco (volta a superfície). “A imersão ... absorvendo mentalmente é um processo, uma mudança, uma passagem de um estado mental para outro. Caracteriza-se por diminuir a distância crítica em relação ao que é mostrado e aumentar o envolvimento emocional com o que está a acontecer.” (Grau, 2013, p.13) O terceiro capítulo é sobre Apnéia, que é ao mesmo tempo o título da dissertação, e a metodologia para chegar a mim mesma, que aplico na vida real. As minhas metodologias foram a pesquisa sobre o antigo e o sublime contemporâneo. Eu li, analisei e interpretei filosofia, mitos, lendas, literatura e obras de arte em contextos artísticos e científicos. Aprendi e pratiquei na vida real os conceitos imersivos encontrados. Para compartilhar o efeito, aprendi a fotografar debaixo d'água sem oxigênio. O trabalho final é um livro immersivo chamado Ocean Immersion, que tenta tirar o ser humano da vida stressante e contemporânea; acalme-o, deixe-o voltar a focar e preenchê-lo com admiração para abrir um ponto de vista subjetivo sobre nossa existência e como podemos lidar com ela. Palavras-chave: Sublime, Ambientes Imersivos, Liminalidade, Apnéia, Fotografia I II ABSTRACT The work is about an immersion into the ocean and into ourselves. The question is: how can we gain a positive effect through the ocean? The first chapter will analyze the old and contemporary thoughts of the sublime; the figure of the vortex was used in arts and literature to create sublime sensations, Immanuel Kant and Edmund Burke claimed that the sublime can bring up a positive effect which will be discussed. A different sublime sensation is liminality, which I encountered during apnea. Many artists describe it´s transformative power which will be compared to scientific medical research. But the fundamental message remains: “The sublime experience is fundamentally transformative, about the relationship between disorder and order, and the disruption of the stable coordinates of time and space. Something rushes in and we are profoundly altered. “ (Morley, 2010, p.12) The second chapter defines Immersive Environments in Arts and Apnea. After the liminal experience I started to train the sport and learned to control my mind and body in an immersive way, which brought up the concepts: still point (preparation), the mind game (submersion) and the focus (resurface). “Immersion…is mentally absorbing and a process, a change, a passage from one mental state to another. It characterized by diminishing critical distance to what is shown and increasing emotional involvement what is happening.”(Grau, 2013, p.13) The third chapter is about Apnea, which is at the same time the title of the dissertation, and the methodology to arrive to myself, which I apply in real life. My methodology was the research about the old and contemporary sublime. I read, analyzed, and interpreted philosophy, myths, legends, literature and artworks in artistic and scientific contexts. I learned and practiced in real life the immersive concepts which I found. To share the effect, I learned to photograph underwater without oxygen. The final work is an immersive book called Ocean Immersion which attempts to drag the human out of the stressful, contemporary life; calm him down, let him refocus and fulfill him with wonder to open a subjective point of view on our existence and how we should deal with it. Keywords: Sublime, Immersive Environments, Liminality, Apnea, Photography III IV A diver immerses under the surface to watch, a freediver to look into oneself.” Pelizzari, 2014, p.1281. Be free as a wild animal. Dive naked like a dolphin, into the abyss of the sea and fly high into the infinite blue of the sky and glide, silent, like an albatross in the petty world of man; to become air, to be immersed in water and to merge with it and to find yourself again. Jacques Mayol apud Dancini, 2005, p.202. Acknowledgements 1 Original: “El submarinista bucea para ver. El apneista lo hace para mirarse por dentro.” 2 Original: “Ser livre como um animal selvagem. Mergulhar nu, como um golfinho, no abismo do mar e voar bem alto no azul infinito do ceu e planar, silencioso, como um albatroz no mundo mesquinho do homem; tornar-se ar, imergir-se na agua e com ela fundir-se e reecontrar-se.” V Thank you to my love Tomás for bringing me back to the sea Thank you Maria João Gamito for orienting me on this difficult path Thank you, Mafalda and Mario from Spot-Freedive Team, for immersing me into the ocean and for all the free support. Thank you to my parents to grow up close to the sea Thank you to my sisters, brothers and cousins Thank you, my dear family and friends, for your existence Thank you to my dear mother, aunt & Grandma Thank you to Family Guichet VI Index Introduction………………………………………………..…………..…..….….01 1. Sublime……………………………………………….…….……………….….03 1.1 Vortex…………….………………………………………………….……….….04 1.2 Liminality………………………………………………………………………..12 2. Immersive Environments…………………………………….….....19 2.1 Still Point…………………………………………………………………….…..26 2.2 Mind Game……………………………………………………………………....29 2.3 Focus……………………………………………………………………………..35 3. Apnea………………………………………………………………...39 3.1 Description of the project………………………………………………………..43 3.2 Analysis of the artistic work……………………………………………………..68 Conclusion……………………………………………………….……..73 VII Index of Figures Fig.1. Harry Clark: Illustration in E.A.Poe, Descent into the Maelstrom, 1919. (Consulted: 15.04.19; http://rebloggy.com/post/illustration-art-ink-edgar-allan-poe-harry-clarke-descent- into-the-maelstrom-tal/74090937359) Fig.2. Olaus Magnus, Carta Marina, Sweden, 1539. (Consulted: 19.11.18; https://www.ecosia.org/images/?q=carte%20marine%20olaus%20magnus#id=3E6C8EEC0732 E0FFC66C056037C72E5593791424) Fig.3. Olaus Magnus, Carta Marina, Sweden, 1539. (Consulted: 20.10.19; https://fineartamerica.com/featured/carta-marina-map-of-scandinavia-by-olaus-magnus-1539- pablo-romero.html) Fig.4. Ivan Aivazovsky, The Ninth Wave, 1850. (Consulted: 15.04.19; http://the-creative- business.com/de/waves-10-amazing-sea-paintings-by-famous-artists/) Fig.5. Ivan Aivazovsky, Among the Waves, 1898. (Consulted: 15.04.19; https://en.wikipedia.org/wiki/Ivan_Aivazovsky#/media/File:Ayvaz_sredy_voln.jpg) Fig.6. Walter Crane, Neptune´s Horses, 1892. (Consulted: 19.11.18; https://upload.wikimedia.org/wikipedia/commons/c/c2/Walter_Crane_- _Neptune%27s_Horses_%281910%29.jpg) Fig.7. Katsushika Hokusai, The Great Wave of Kanagawa, ca. 1829–1833. (Consulted: 19.11.2018;https://en.wikipedia.org/wiki/The_Great_Wave_off_Kanagawa) Fig.8. Alex Botelho, Praia Norte Nazare, 2016. (Consulted: 20.10.19; http://swell- algarve.com/wp- content/uploads/2016/12/15036530_1447530751941718_716804498001721604_n-1- 750x450.jpg) Fig.9. Gary Hill, Learning Curve, 1993. (Consulted: 2010.19; http://garyhill.com/work/mixed_media_installation/learning-curve.html) Fig.10. Newman, Barnett, Onement VI, 1953. (Consulted: 15.04.19; http://antiquesandartireland.com/wp-content/uploads/2013/04/newman.jpg) Fig.11. Great Frieze of the Dionysiac Mystery, Pompeii, 60. B.C. (Consulted: 20.10.19; https://www.dailymail.co.uk/news/article-3004498/Italy-shows-restored-Pompeii-villa-EU- deadline-looms.html) Fig.12. Anton von Werner and 13 other Painters, The Battle of Sedan, Berlin, 1883. (Consulted: 20.10.19; http://rd.uqam.ca/AHWA/Meetings/2000.CIHA/Grau.html) Fig.13. Monet, Water Lilies series, 1915-1917. (Consulted: 15.01.20; http://content.time.com/time/travel/cityguide/article/0,31489,1937013_1936990_1936849,00.ht ml) Fig.14. Caspar David Friedrich, The Wanderer Above the Sea of Fog, 1818. (Consulted:10.01.20; https://www.geo.de/magazine/geo-epoche-edition/20083-rtkl-deutsche- romantik-caspar-david-friedrich-die-landschaft-der) Fig.15. James Turrell, The Light Inside, 1990. (Consulted: 15.01.20 VIII https://www.archdaily.com/380911/light-matters-seeing-the-light-with-james-turrell) Fig.16. Andrea Pozzo, Nave of Sant´Ignazio, 1694. (Consulted: 20.10.19; https://de.wikipedia.org/wiki/Andrea_Pozzo#/media/Datei:Decke-santignazio-rom.jpg) Fig.17. Gravure Skandalopetra, Greece, 1800. (Consulted: 21.10.19; http:divingheritage.com/greece2.htm) Fig.18-23. Janna Nadjejda, Okeanos, 2018. Fig.24-29. Janna Nadjejda, Immersion, 2018. Fig.30-35. Janna Nadjejda, Kimata, 2019.
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