Déjà vu

Title: Déjà vu K. J. Karoussos Falcons’ as well as hawks’ sharpest view is at an angle towards their direction of flight. Flight speed and visual acuity are two high performing skills enable these birds to attack their prey. Alongside migratory birds may use two electromagnetic tools in order to find their destinations: one that is entirely innate and another that relies on experience. Recent research suggests that birds may actually be able to ‘see’ the magnetic field of the earth so to perform “another ‘vision’ by which they can fly over Northern Russia and see Egypt where they migrate for the winter” (Ouspensky, P, D. ‘’A new model of the Universe- Principles of the Psychological method in its application to problems of science, religion and art’’, p.92 New York, Dover Publications, 1997). To interpret the above visual formulas with the rationalization which was established by Renaissance perspectivists could be proved inefficient. Alike these kinds of mentioned visual performances, technology brings forward a transnatural element which plays an important role to its practice and reflections. Virtual and telematic phenomena have managed to generate mental platforms in which rational thinking and plausibility are secondary factors of visual practice. Similar to a shaman who employed trance including techniques to incite visionary ecstasy for ‘vision quests’, a contemporary man can employ bouquets and assemblages of data in a nonspace of the mind to distribute messages across complex and fluid networks. Even if from Renaissance period and further, there was the notion of a mental state of viewer, perception took place in real physical space within the body. Visual interpretations as panorama and diorama, offered complex illusions that seemed real; that could be explored and that could change. Nevertheless, all these theories involve physical conditions and their aim is to interpret the world as an objective phenomenon as physical sciences do. Even if they tense to view the world outside the mind, their outcomes seem to be a process of reasoning and applied knowledge. Alongside, art followed this mainstream, in order to gain a public reception, to act rationale, according to the axioms of science; thus to always proof that it performs the reality or its avant- garde parameters. Nevertheless from Paleolithic ages to cyber ages, no big shift has been occurred concerning the human spirit. Beyond all the process in science and arts the basic necessity “to extend the opaque body into the translucent” , (Sondheim, Alan. “Theory, Codework, Links to Multi –Media Work, Commentary”. http://nikubo.blogspot.com/2007/10/z-or-whatevercombinations-of-these.html 09 Oct. 2007 retrieved on 10 May 2009) simultaneously and via spiritual realms, remains always the same. Conclusively, it is not so much about a shift and a new platform; nor about the new instruments that are in our service; it is rather about a review of our stock of visual formulas.