Stirn Hunters Point, Queens NY, 2002 Thanjavur Market, Tamil Nadu, 2001
Indian Perception -Making
Things-
There are some significant aspects that distinguish the Indian perception. The Indian perception is pluralistic: the same intention can have different ways of going and different expressions. The canon of finding a solution is more of an abstract idea, a grid with various directions (Mantra). It has continuous analytical borders and allows going into different directions from the same starting point and with the same intention. The diversity of the Indian subcontinent’s flora and fauna, of its races and religions, of its languages and cultures, of its foods and gods - is reflected in the Indian peoples outlook towards things. Differences are readily accepted, which makes that the plurality of the world is considered to be the natural state. The Indian plurality is mind blowing. Yet, there is an undercurrent force, which unites all these numerous multiplicities. This inner force is emotionally (love, spirituality) connected and becomes manifest in a variety of basic patterns, which determine the daily life objects. In this process, the inner variation is more important than the outer shape; objects are originated in the practical doing, and similarly, they are also confirmed by their sheer daily use. If a shape is found, it gets varied, but it is barely changed in it’s essence. So are many typical objects like the saris, rikschas or trader wagons produced and used in nearly always the same form, but in countless variations, in ancient shapes or modern interpretations. One could assume, that it is this vague similarity itself, that makes all differences in the inner content apparent. Beside Pluralism, people use a holistic synthesis, which is broad and comprehensive, which is different from the scientific analytical separatism like the most western strategies, which are sharp, focused. Most importantly, the Indian perception is rather characterized by its continuity and simultaneity than linearity and finality. According to Indians God is “Anant” (infinite) and is called ‘Aadi Madhyant Rahit”, one without beginning, middle and end. The other idea that has a strong influence on perception is wholeness. It goes back to mystical roots nearly 5000 years ago. The Indian aesthetician held that an element has meaning only as part of the whole and not on its own. They also defined on this basis three essential attributes of arts - Satyam, Shivam and Sundaram - Truth, God and the Sensual Beauty. If one is looking at a piece of art, he judges it not only by how sensually beautiful it is but also how relevant it is and how much good it can bring to bear on the society at large.
T h e m u l t i l a y e r e d ness and sequential over lapping is an i n g r a i n e d t r a i t i n the I ndian tr adition. T he ancient I ndian t e m p l e i s a n e x ample of this. It is an archetype, built to the st r i c t codes o f s hilpa Sastra (the Hindu science of temple const r uct i on) . I t is based on a sacred plan called “Vastu P ur u s ha Mandal a ”. Over the years as the needs change, new sur r oundi n g s , b u i ldings will be added. Also new developments i n t echnol o g y ar e applied such as electricity, fans and oth er f a c i l i t i e s i ncl u d i ng computer applications. Old shapes are not abol i shed, but over-formed. At most it can be, that new forms super s ede ol d o n e s, yet this is a complex, soft process, n ot a pl a n n e d act i on. I f substructures seem to be in conflict wit h the mai n st r uc t u r es, this is not a problem but an idea of the w orld. The I ndi a n t e mp l es and the Mandala function in the same way. The i nner gr i d, t h e Idea is not the same like the outer form. The l i n e a r d i al e c tic bet ween idea and outer form is not ty pically I n d i an. I t wo u l d d amage the variety of life. ...The Devotees go wal k i n g bar e f oot , even rolling but there is air transports t oo. The t empl e i t sel f is designed in a way that you don’t e nter i n t o t h e “ G ar b h a Griha” or Sanctum Sanatorium directly but a f t e r a number of circumbullations and with each roun d the devot e e i s ma d e to realize one layer of the Gods pre sence .
T he o ra l t ra d iti on, whi c h c ont i nuous unhindered even to the present day is one of the c ru c i a l inf l uences o n t h e I n d ian perception. The oral method, similar to the th i n k i n g p a t t e r n, i s n o n - l i near. It is simultaneous, multi-layered and insta n ta n e o u s . For i n s t a n c e, people do not use maps or plans to describe a locat io n , w h a t woul d cor r e spond w ith linear localization strategies. Instead they u s e a v a ri e t y o f c ont e x t s s uch as land marks (a giant tree next to it) o r sen s a tio n (a flo we r s el l er ) o r a past story (a renowned person’s birth). Thi s w or k s b y t h e a d d i t i on a n d l i st i ng o f aspects of the surrounding world. Seve ral differe n t a s p e c t s c onst i t u t e a si t uation or a space. Descriptions of processes ar e co n n e c t e d i n a sequent i al way, similar to the strategies present in Bollywood film s a n d m o d e r n mu s i c v i d e o s . A thin g i s n e v e r i s ol a t ed a n d r e d u c ed to an abstract number or name. It is conte x t u a l i s e d and i dent i f i ed b y i t s surroundings, past or pre sent, animate or ina n im a te o b j ect s , bui l di n g s , t r ees, walls, lakes and so on. The advantage of thi s v ie w is t h a t i t pr e c l u d e s e x tremism. That is the reason for the mostly unpr o b le m a t i c c oexi s t e n c e o f d i f f erent religions and ways of life in India, e ven in clo s e q u a rt e r s. Ther e i s n o t e n d ency to assimilate the diversity of life u nder a few m a in d o gmas a s i n mo s t monotheistic societies. The different bubble s touch , f o rm a n d i n f l u e n c e e a c h o t her but their core, their heart stays mostly unaff e c te d . T hey c an f ol l ow t hei r o wn inner direction independently of eac h other. Singa n a p a l l i B al a r am
in between, goods Billboard installation Ahmedabad, Indien, 2002
In Indien beobachtete ich, daB Menge als informatives und Aufmerksamkeit erregendes Zentrum angesehen wird. Z.B. werden dort viele Werbetafein in Clustern angebracht. Auch in der Fernsehwerbung wirkt die Vielzahl und Unterschiedlichkeit anregender als das einzein ausgestellte Ding. Die Cluster folgen einer Alltagswahrnehmung, sie sind selbstorganisatorisch entstanden und weisen so eine hohe Dichte an Informationen und Moglichkeiten auf. In India I observed that bundlings of similar basic elements are perceived as informative and attention gaining visual occurences. Advertisement panels for example are installed in clusters. In TV-advertisements, too, variety and diversity is experienced more stimulating and intriguing than the isolated things. The clusters follow the everyday-perception, self organized structures, that radiate an extreme density of information and possibilities. in between, goods, Billboard installation, Emaillefarbe auf Metall, ca. 5,5 x 5,5 m, Ahmedabad, Indien, 2002