ART AS RIGOROUS PHENOMENOLOGY

E. DOMNITCH & D. GELFAND

Between consciousness and reality there yawns of computer science whose far reaching a veritable abyss of meaning. 1 genius encompassed such distant domains as economics, geometry, nuclear arms, game Ever since she began pursuing , theory, quantum and self-reproducing Evelina was infected by Edmund Husserl’s automata. The “success” of the atomic bomb phenomenological upheaval. In the early 1990s came hand in hand with the nearly unanimous when she was a philosophy student in Minsk, acceptance of his misconceived proof. (Do the only work of Husserl ever translated into humans really need theory and philosophy, Russian was his manifesto article from 1911, once a working a-bomb has been achieved?) “Philosophy as Rigorous Science”. Written The first one to disprove von Neumann’s axiom at the time when science was becoming an was the philosopher, physicist, mathematician accelerative and triumphant force of planetary and anti-nazi activist, Grete Hermann. transformation, Husserl was looking for an Her iconoclast article, “The Foundations of equally powerful approach to metaphysics in the Philosophy of and the study of consciousness. This new Nature,” was published in the highly prestigious science “of whose extraordinary extent our Die Naturwissenschaften in 1935, but it went contemporaries have as yet no concept; a unnoticed until quantum master-mind, science it is true, of consciousness that is John Bell, stumbled upon the paper almost not quite psychology; a phenomenology of thirty years later. Thereafter, tremendous consciousness as opposed to a natural science phenomenological insights have arisen from about consciousness” 2 would rigorously clarify the depths of theoretical physics. the contents, structures and methods of our own perceptions wherefrom all “givenness of The artworks we create may be considered things” is made manifest. phenomenological investigations, clarifying not only the content of our perceptions, but Now, a century later, philosophy is moving ever also descending further into the non-rigid, further away from a realization of Husserl’s morphing structures of consciousness itself. In phenomenological utopia. Transcendental this article, we will take a closer look at three idealism has fallen out of fashion as the reign of our endeavors which concurrently comprise of logical formalism, statistical analysis and novel multi-sensory performative environments, artificial intelligence guides and solidifies the philosophical inquiries and scientific biological intelligence of humans. Despite experiments, culminating in experiences the overwhelming triumph of such cerebral that can equally exist outside the scope of mechanization, it has utterly failed to unveil science or phenomenology per se. We have the nature of both physical and mental selected artworks that are incited by acoustic reality — as exemplified by the plight of John phenomena, as Husserl himself considered the von Neumann’s renown “proof” negating the perception of music as one of the crucial means presence of hidden variables within quantum of time-consciousness and a superlative example physicality. Von Neumann was a pioneer of phenomenological elucidation.

1 ART AS RIGOROUS PHENOMENOLOGY According to Husserl, the content of of light emitted from sonically imploded perceptions and experiences is “objectified,” gas bubbles in liquid. Deep within a liquid, and the “object” is mentally constructed such as water, float microbubbles far too from sensorial impressions. Science involves small to see with the naked eye. Only high precise measurements and gives meaning to frequency acoustic vibrations are tiny enough these measurements by finding mathematical to penetrate these bubbles, causing them to patterns in repeated measurements, viciously collapse at over four times the speed disregarding the uniqueness of each concrete of sound. Teaming with shock waves and jet occurrence in favor of repeatability. In his last formations, a cavitation bubble (containing work “The Crisis of European Sciences and a sonically injected cavity) shrinks into a Transcendental Philosophy,” Husserl’s criticism dense plasma core that reaches temperatures does not undermine the triumph of science, as high as are found on the Sun. At this but encourages a reexamination of the origins scorching stage, clouds of collapsing bubbles of the scientific mind, starting from ancient emit light which traces the intricate behavior Greece. When he presented his critique in of acoustic propagation. The extraordinarily the mid and late 1930s, the incompleteness high temperatures incited certain physicists theorem of Goedel was already proven (1931) to hypothesize that nuclear fusion might arise and Alan Turings non-computable functions during sonoluminescence, prompting a great were among the news (1936). It was clear that deal of research in the 1990s and early 2000s. cannot be the ultimate language However, the theory of “bubble fusion” was for endowing the universe with meaning, albeit eventually dismissed, the squeezed plasma among the most elegant and unequivocal. As core has yet to be directly observed, and the the methods of natural philosophy have been main energy focusing mechanism remains slowly evolving during the last 2500 years, unknown. Consequentially, various theoretical the intentions and concepts of its very few processes are still being formulated to explain practitioners have changed dramatically. Of this mysterious transformation of sound into paramount importance to Husserl is the act light — ranging from quantum tunneling and of assigning meaning while deeply immersed collision-based radiation to quantum optical within the flow of a uniquely emerging reality heating. continuously addressed by consciousness. Hence, as our first step in preparing a Amidst the vast body of research conducted phenomenological arena, we took a rather thus far, it turns out that we have been the Husserlian stance by deliberately dismissing only ones pursuing sonoluminescence as a the utilization of recording and fixative media. perceptual tool. It is not surprising, since it is Only the totality of an unfolding phenomenon, quite difficult to procure sonoluminescence together with the observer in the act of on a scale suitable for human perception. perception, can provide the psycho-sensorial Laboratory experiments are usually performed conditions for the emergence of meaning. in a little cuvette, smaller than a glass of water, with single bubble sonoluminescence The morphological totality of acoustic that is hardly visible to human eye. Also, the phenomena, lying far beyond the aural horizon, sonication frequency is beyond the human led us to the integration of other sensory hearing spectrum (although the synchronous faculties for sonic observation. In order to bubble implosions are slightly audible). Over accommodate a non-virtual, three-dimensional, the course of five years, in collaboration multi-sensory experience of sound, we set out with the Institute of Advanced Science and on an enduring, tenebrous pursuit of an exotic Technology (Japan), The Physics Institute phenomenon known as sonoluminescence: of Goettingen University () and St. coherently repeating picosecond flashes Petersburg-based acoustic physicist Alexander

ART AS RIGOROUS PHENOMENOLOGY 2 Fig 1. Sonoluminescent standing wave in Camera Lucida: Sonochemical Observatory; image and © E. Domnitch and D. Gelfand

Miltsen, we created five different versions of grows brighter and brighter until one is able to Camera Lucida: Sonochemical Observatory. perceive the fleeting configurations of glowing They constitute the largest displays of sound fields. As larger patterns come into sonolouminescence to ever have been created, focus, one gains enough confidence to place vigorously cavitating 60 to 90 liters of water. one’s head right in front of the chamber. An immense liquid lens, the chamber strongly When Camera Lucida is presented to the magnifies its radiant contents. public, all of the research in no way frames the experience. It begins with a guided descent Though such faint light is supposed to be into pitch black darkness with a small group devoid of any discernible hue, different of spectators who are asked to sit quietly until observers claim to have seen different dominant their eyes slowly switch to night vision. This is tonalities, such as yellow, pink, blue or green. also a moment of inward concentration during The predominant emission wavelength is in which the absence of the ever-dominant visual the invisible ultraviolet spectrum, which is field and resultant self-invisibility become the why sonoluminescence was once labelled “star premise for a new kind of lucidity. When the in a jar”: very high energies and temperatures preparatory adaptation phase is over, visitors are necessary to create ultraviolet emissions. are guided to a 60-liter glass sphere positioned “Acoustic cavitation results in an enormous at eye level. After they form a circle around concentration of energy. If the energy density it, the performance commences. From an in an acoustic field that produces cavitation immeasurable distance dim nebulae start to is compared with that in the collapsed appear, refusing to come into focus. Gradually, cavitation bubble, there is an amplification as one’s pupils maximally open, the light of almost one trillion. The enormous local

3 ART AS RIGOROUS PHENOMENOLOGY temperatures and pressures of cavitation result Suspended within these low-pressure in sonochemistry and sonoluminescence. voids, the gold slivers spin and vibrate with Cavitation produces an unusual method for infinitesimally discernible aural consequences. fundamental studies of chemistry and physics Their each and every motion transforms under extreme conditions, and sonochemistry the standing wave that levitates them and provides a unique interaction of energy and synchronously interlocks with the motion of matter.” 3 Some of those who have perceived their hovering neighbors. During the course this tremendous energy transfer in the of the performance, the observer gains spatio- Camera Lucida installation have shared their temporal insight into an emergent feedback experiences with us: from vivid evocations system in which each part evolves from the of neural activity to out-of body wanderings whole, and the whole from each part. and visions of Earth from space. There is also a scale chasm that is difficult to surpass. The Similar to Camera Lucida’s visual entry into spatio-temporal scale of sonolunimescent the non-linearity and complexity of sound, events reaching our senses from such minute Sonolevitation prompts the extension of the quadrants conjures a sense of looking deep into auditory perceptual horizon by constructing the starry sky. a mental framework fusing hearing with other senses. Though the tactile dimension Although visitors are asked not to touch can only be physically experienced by the anything in the dark for reasons of safety and performer while positioning the gold within social complacency, touching the vibrating the sound field, the spectator can both see walls of the chamber, especially with one’s and hear the suction force of the vacuum. forehead or fingertips, provides a hair-raising The resulting apprehension of sound can tactile odyssey. In fact, we still contemplate transcend the initial sensory experience, creating an installation shaped so that the however, such synthesis is not guaranteed audience could place their hands inside. and may require strenuous mental efforts Through one’s hands, invisible under swarms and even restructuring of habitual modes of of luminescing bubble clouds, one would touch perception. “The object appearing constantly the implosive power of cavitation. new, constantly different, is constituted as the same in these exceedingly intricate wondrous Sonolevitation is another performance that systems of intention and fulfillment that make simultaneously explores the auditory, visual, up the appearances. But the object is never tactile and kinaesthetic repercussions of finished, never fixed completely.” 4 acoustic propagation. The title is a literal description of the performance itself, meaning Husserl likes to stress the implicit sonically actuated levitation. Even such an incompleteness of sensory perception by unequivocal title rarely prevents the unversed referring to the fact that no object can be from misinterpreting the phenomenon as seen from all sides at once, and that it is the magnetic, the type of levitation with which mind that objectifies into a unified whole the many are familiar both theoretically and multifarious content of sensory perceptions, of empirically. The audience begins to reconsider lived experiences. The vigorously spinning and this interpretation while gradually becoming fluttering gold leaf in Sonolevitation reveals all aware of the continuous presence of a 15 kHz of its appearances in rapid succession, nearly tone modulated by floating slivers of gold. blending them into one image. By trusting The sound, emanating from an upwardly and carefully synthesizing one’s senses, as any directed transducer, is bounced back by a phenomenologist would do, one may altogether reflector, creating alternating areas of strong restructure one’s pre-linguistic spatio- acoustic pressure and vacuous pockets. temporal perception and reach unprecedented

ART AS RIGOROUS PHENOMENOLOGY 4 Fig 2. Sonolevitation performance in Krakov, 2010; image and © A. Dera Fig 3 and 4. Acoustically levitated droplet-lattices in Mucilaginous Omniverse; image and © E. Domnitch and D.Gelfand sensibilities and transcendental elevations. Resembling scintillating transparent cells “…in order to be able to emanate from actual or cyclically flickering eyeballs hovering in evidence every theory that refers to nature microgravity, laser-scanned droplets of silicone presupposes natural experience — what we call oil are acoustically airborne in Mucilaginous outer experience. In this way, all theoretical Omniverse. From underneath a bath of silicone knowledge in general ultimately leads back to oil low-frequency sound waves propel a pillow an experience. We see upon closer inspection of air just above the bath’s surface, preventing that already under this rubric, “experience,” falling droplets from coalescing with the bath. sense-giving accomplishment, is carried out, Once released from a syringe the droplets indeed, a highly ramified, intricate one…” 5 assemble into a floating latticework, the nodes of which correspond to the sonic wavelength. Sonolevitation is also a suprematist tribute Certain frequencies may entrain droplet pairs to Kazimir Malevich who postulated that the and larger ensembles into quantized orbits goal of humanity “consists of distributing analogous to the bound states of electrons weight in systems of weightlessness.” 6 Guided around atomic nuclei. by his obsession with levitation, in the 1920s he taught his UNOVIS students in Vitebsk Discovered only a decade ago, this means courses on the scientific research of Tsiolkovski of sonically levitating droplets has lately and Chizhevski, both pioneers of space attracted much attention after Yves Couder’s exploration. The value of such knowledge conceptual breakthrough: the experiment for artists was motivated by Malevich’s macroscopically mimics several quintessential insight into microgravity’s transformation of quantum phenomena, such as single particle customary modes of perception, especially the diffraction, tunneling, quantized orbital kinaesthetic coordination of spatial sensations. motion and most recently the Zeeman effect. Eventually, after hundreds of people having Though not immediately perceivable, the lived in microgravity, it has been acknowledged droplets continuously experience a bouncing that even color vision is affected by free-fall, motion that is phase-locked to the sonication due to the eyeball’s change in pressure. frequency. While bouncing on the air-oil

ART AS RIGOROUS PHENOMENOLOGY 6 interface, they create surface waves with which kinaesthetics of global “perceptual fields,” as they are symbiotically linked, in the manner fundamentally indivisible from one another as of wave-piloted particles. Posited by Louis from their infinite surroundings. de Broglie in 1927 and enriched by David Bohm in the 1950’s, the is an “The appearances form dependent systems. alternative to the Copenhagen interpretation Only as dependent upon kinaestheses can (also published in 1927) which precludes the they continually pass into one another and simultaneous observation of a particle and its constitute a unity of one sense. Only by running associated wave state. Permitting awareness their course in these ways do they unfold of only one state at a time, depending on the their intentional indicators. Only through protocol of the measuring apparatus, this this interplay of independent and dependent still dominant interpretation, formulated by variables is what appears constituted as a Neils Bohr and , blocks transcendental perceptual, precisely as an any route towards the visualization of wave- object that is more than what we directly particle duality. perceive, as an object that can completely vanish from my perception and yet persist.” 8 Unconvinced by the notion that the very nature of physical reality cannot be envisioned, Since the fuzziness or non-locality introduced Albert Einstein strongly encouraged the by quantum theory, and relativity’s erasure of development of the pilot wave interpretation, the frozen Euclidian/Newtonian backdrop, closely entwining it with his theory of relativity. the perceptual construction of space-time “Physical objects are not in space, but these can only be an idealized synthesis (eidetic objects are spatially extended (as fields)… or numeric) of co-dependent, semi-hidden Since the theory of general relativity implies phenomena. Evocative of Einstein’s imminent the representation of physical reality by a thought experiment leading to the discovery of continuous field, the concept of particles or quantum entanglement in the 1930s, Husserl’s material points cannot play a fundamental phenomenology would eventually emerge part, nor can the concept of motion. The into the meta-kinematic framework for the particle can only appear as a limited region in slippery abyss of high-energy physics. Though space in which the field strength or the energy hastily mummified by philosophical circles, density are particularly high.” 7 phenomenology has been gradually reborn in the subterranean tunnels of CERN, at the In Mucilaginous Omniverse, one may “open horizon” beyond the Standard Model. simultaneously observe with the naked “…an intending beyond the thing itself with eye the oscillating corporeality of a droplet- all its anticipated possibilities of subsequent particle along side its disembodied pilot wave. determinations, i.e., an intending-beyond to The perceptual mapping of this quantum other objects of which we are aware at the analogy also greatly enhances the observer’s same time, although at first they are merely in awareness of non-local mental phenomena. the background. This means that everything Husserl’s elucidation of these “transcendental” given in experience has not only an internal structures of perception deeply converges horizon but also an infinite, open external with our mesoscopic artistic pursuit and horizon of objects cogiven…” 9 with the scientific revolutions sparked by relativity and quantum theory. The new phenomenology is an indispensable The psychophysics originated by his conceptual bridge between experimental and predecessors, the legendary likes of Thomas theoretical physics, painstakingly achieved Young, Hermann Helmoltz and Ernst after a long, meandering path of tumultuous Mach, elaborately evolved into Husserl’s debates between empiricists and transcendental

7 ART AS RIGOROUS PHENOMENOLOGY idealists, between particle prophets and particle Notes poppers. Ascending from CERN’s subatomic 1. Husserl, E. Ideas, General Introduction to Pure Phenomenology. debris, John Bell started drawing physicists’ trans. W. R. Boyce Gibson (London: Allen and Unwin, 1952). attention to the uncanny phenomenon of an 2. Husserl, E. Phenomenology and the Crisis of Philosophy. trans. entangled pair of particles (akin to Husserl’s Q. Lauer. (New York: Harper Torchbooks, 1965) “cogiven objects” or “dependent variables”) 3. Suslick, K. “The Chemistry of Ultrasound,” Yearbook of Science and the Future, pp. 138 - 155 (Chicago: Britannica: 1994) behaving as a single global wave system (“a 4. Husserl, E. Analyses Concerning Passive and Active Synthesis: unity of one sense”), regardless of the distance Lectures on Transcendental Logic. Trans. A. J. Steinbock. between the particles. No longer a thought (Dordrecht: Kluwer Academic Publishers, 2001) experiment, by the early 1960s, Bell devised 5. Ibid. a fool-proof means to empirically scrutinize 6. Malevich, K. Essays on Art, Vol. 1. trans. X. Glowacki-Prus, A. entanglement and verify the vibrating presence McMillin. (London: Rapp & Whiting, 1971) of non-local hidden variables. Finally, von 7. Einstein, A. Relativity - The Special and the General Theory, Neumann’s fossilized conviction of their absence Fifteenth Edition. Trans. by Robert Lawson. (New York: Three Rivers Press, 1961) was indubitably refuted, but the ultimate 8. Husserl, E. Analyses Concerning Passive and Active Synthesis: question still remains as to where and if there Lectures on Transcendental Logic. Trans. A. J. Steinbock. lies a horizon between our massive, misleadingly (Dordrecht: Kluwer Academic Publishers, 2001) rigid macro-reality and its underlying wavy 9. Husserl, E. Experience and Judgement. Trans. J. Churchill, K. world of telekinetic quantum behavior. Ameriks. (Chicago: Northwestern University Press, 1975)

Though Husserl constrained himself from using scientific language and terminology borrowed from physics and neuroscience, choosing instead a critical re-examination of the language of transcendental idealism, our text does not shy away from scientific terms or concepts. It also does not represent an example of exclusively phenomenological investigation. Rather, it is the experience of an artwork described in this text, coupled with the intention of an observer, that can become an experience of phenomenological immersion, a co-emergent performative experiment. The intention of this article is to prepare and incite the potential spectator to attempt such an experiment or even go beyond it.

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