Art and Spirituality, by Andrej Tisma, Krovovi magazine, Sr. Karlovci, 1992. "By a mental resonance in spiritual art the spectator is led to a state of fascination, the same as the artist, and he experiences the same passion of unity with the source and essence of existence - what is by definition the origin of art."

Artist Mind and Consciousness, by Tashi Leo Lightning, 2006." Not everything is art, but anything can be art - it is the mind of the artist that transforms it into art. The viewer / receiver must transform themselves into the same energy to receive the art work."

(Spi)Ritual Performance, by Andrej Tisma, 1991. Visionary artist, Andrej Tisma explains the difference between traditional performance art and his (spi)rituals, which he defines as,“a transmission of spiritual energy or inspiration from the artist to the audience.”

Buddha Mind in Contemporary Art, edited by Baas and Jacob, 2004, book. One parallel between Buddhist and artistic practice is that both can jolt us out of our habitual ways of looking at and thinking about the world. In Tehching's work, there is no artist and no audience, no venue, no viewing experience, no thing. It speaks in a language resembling that of the poet but without words.

Sehgal's Medium is the Human Mind and Energy, by Carol Strickland. Instead of transforming material like canvas or a chunk of marble into an art object, Sehgal's medium is the human body, mind, and energy. His goal is to transform participants' thoughts and values.

Happenstances, by Evgenija Demnievsaka. The Internet art event: happen +circumstance: a circumstance regarded as due to chance, hap-pi-ly. 1: fortunately, luckily, 2: by chance, 3: in a happy manner or state, 4: aptly, successfull. The entire project represents an important investigation of energy, imagination and technical competences for a result which is not completely known in advance.

Encounter Art, Andrej Tisma, 1991. Art Critic and artist Tisma describes the evolution of non-material art forms beginning with the Happenings in the ‘50s, and progressing through the Fluxus movement, Conceptual art, and Mail-art. He concludes with an explanation of the current art form of “transmission of inspiration”.

Walter De Maria's "Lightning Field", by Arleen Hartman. 'The Lightning Field' is located in a remote part of New Mexico. A few visitors at a time spend 24 hours at a cabin hoping to view lightning strike one of 400 stainless steel 7 meter poles embedded in the earth. There exists an expectation comprising the natural environment, a meticulous math, an experience of the senses.

London Fieldworks, website. British artists, Jo Joelson and Bruce Gilchrist have collaborated on several global art projects that intend to blur habitual boundaries by experimenting with interactions between performance art, the nervous system, time, machines, and computers.

Lygia Clark, Fundació Antoni Tapies, Barcelona, 1997, book, in Portuguese and English. Brazilian artist, Clark, used bodily experiences and ritual to liberate people from habit, repression, and fear into an awakened sensorium.

Seeing is Forgetting The Name of the Thing One Sees, Lawrence Weschler, University of California Press, Berkeley, 1982, book. Biography of U.S. artist, Robert Irwin, who primarily explores the philosophical concepts of perception through paintings, being, light, then nature.

Sounds of the Inner Eye, Wulf Herzogenrath and Andreas Kreul, eds., Museum of Glass, Tacoma, 2002, book. Also available in German: Klänge des inneren Auges, Kunsthalle Breman, Breman, 2002, book. Addresses the connection between the works and ideas of John Cage, Mark Tobey, and Morris Graves. These three U.S. artists used their understanding of Eastern philosophies to delve into the potential of art.

Inside a Dream of Desert Light, Michael Kemmelman, The New York Times, 4/8/01, magazine. James Turrell’s ‘Roden Crater’, a black and red volcano in the U.S. southwest, is one of the largest works of art in the world. One is meant to experience ‘Roden’ over many days; spending time silently looking and contemplating the relationship of the light, the tunnels, and the rooms to the sun, stars and land.

Additional references and links