WORKS
Works of
Peeter Laurits guide us into the realm of multi-perceptional visions, which
shapes the magic words “wild aesthetics”. It is a realm, in which both
sides of form – consciousness and unconsciousness – rub their noses together.
Occasionally,
consciousness erupts, and then things happen: grim, bizarre, inspiring. No one
knows what or who consciousness is. Consciousness is difficult to speak about,
since we most likely live within it. It sometimes seems that pattern or script
are the best-suited models for consciousness. Consciousness is tugged towards
patterns. A fine pattern is almost like a bait for consciousness.
For
forest-people, the forest itself is a model of consciousness; for water-people,
it is the rivers and lakes; for cyber-peoples, it is integrated circuits and
nano-clouds. I believe that in some unknown way, the development of
consciousness is connected to wild aesthetics – to natural patterns that have a
direct effect on the spinal cord, causing unusual intuitions in human beings.
Walking
through the forest, one feels a joyful spark of recognition at the sight of
native totem poles – tree trunks engraved by bark beetles. These are sacred
scriptoriums created by Ips typographus and Hylesinus fraxini.
Carl Linnaeus dubbed pine bark beetles “self-writers” – Ips typographus.
The writing influences us, although reading it requires a specific (“that”)
state of consciousness. It’s impossible to make anything out of such writing
when one is occupying an ordinary (“this”) state of consciousness. One is the
lettering “at hand”, the other the lettering “at potency”. A tree gnawed upon
by bark beetles is an ancient shaman’s staff; a primeval memory-stick plugged
into the world’s port.
Valdur
Mikita