THE INCIDENT / SYM-BI-O/ Living together at the limits of Science - 1995 - 2021
THE INCIDENT
1995/1996
An informal response to the symposia:
Sym-bi-o/living together at the limits of Science
Thursday, March 18th 12.00 - 16.00 2021
Rob La Frenais and James Turrell at The Incident 1995. Photograph © Eliane Laubscher.
University for the Creative Arts, UK
‘Revisiting The Incident (‘sur internet’, as it was described in a photograph by the original project photographer Eliane Laubscher); exhibitions and symposia held in 1995 & 1996 to consider (their) inter-generational themes concerning artistic and political questions of our time.’
We recommend watching the conference via the link below - it is three hours in duration but a tremendous source, resource and starting point for artists, historians of art, media, science philosophers, anthropologists, sociologists and those generally involved in ‘world making’.
I was delighted to be invited to attend the 2021 conference which was, “Convened by Kathleen Rogers, UCA Professor of Media Art and Sciences, with moderator and international curator Rob La Frenais, renowned anthropologist, writer and activist for the rights of Amazonian peoples, Jeremy Narby and Birgitta Hosea, UCA Professor of Moving Image as the respondent.” It took the format of a zoom event over the course of an afternoon, (re)uniting global participants with an audience of artists and students re-visiting these works from 25 years ago.
I have been reflecting for over a week, on how the conference has impacted me. It is an example of a best-practice, international arts symposium, with celebrity and established artists, writers and activists from my lifetime, a fascinating body of works and engagements which, is still fresh and relevant in its explorations today and emphasises the size of the pre-existing canon of works out there, if canon it is. It has continued to help me address what is important in the practice of art; its devotional nature. It also reminded me that we work in silos, in worlds constructed from and in a web of interconnected structures, subjects and objects, bound by stereotype, anchored by archetype trying to swim in a torrent of every changing language trying to find islands of meaning. It is a state of perpetual motion.
2020 has been a year when we have been gifted time to reflect. The events ‘Sym-bi-o/Living together at the Limits of Science’ and The Incident combined, represent an attempt to create, across a timespan of 25 years, a reflective and reflexive structure to document and name the work made in a professional context, but also the principles of existence. Not solely name them but to seek the unknown and the ‘great unknowable’ going forward.
The language we use to describe and understand the world around us has evolved as rapidly as the technology alongside, both seep and creep into our living. Throughout his career, La Frenais has worked tirelessly to create art structures for the documentation of the exploration of the unknowable and to points of adventures to leap from. Rogers too has framed her art and life to formalize, document and shine an artistic and a media lens on them. Both continue to support and create artworks, and the same can be said for the other players in The Incident.
Images above – Kathleen Rogers
Hosea, as respondent throughout, brings the discussion back to the accessibility of the work, the event itself limited to only those directly connected to the artists and conveners who additionally have the time, resources and internet equipment to attend. The gap between haves and have-nots widens as novel trans-humanist technology begins to become the norm.
What then makes The Incident so brilliant? As well as using the current and emergent technology, it invokes profound natural laws, principles, archetypes, technologies for divination and time travel : true mysteries. It centres the work on testing and proving boundaries which, we are conditioned to accept unquestioningly, from external sources. It also gathers together, experts, who once drawn together as companions, can co-create a working where the collective is the greater than the sum of the whole. The architects of the work are needed to select the participants and hold the space. It is a ritual, convened for unknown purposes. This parallel to religious ritual, performance and pagan spectacle is self-evident.
La Frenais spoke of his embarrassment at certain public points during the Swiss Incident event; a gift of an ‘Alf the alien’ stuffed toy at the opening carried a hint of the nervousness of funders and media alike. Laughing at what they did not (yet) understand. Rob’s sincerity held him steady and emphasised the different styles and approaches used by art as a serious research practice. The Incident’s impact in Switzerland was big and travelled internationally. The ICA representatives who saw the work in Fribourg, asked that they travel as an entire body of works to London, where new works and fresh curation expanded the body of work further.
Above Marko Pelijhan
Predictive texts and technologies of the future
I was reminded to recommend, again, Jeff Kripal’s ‘Authors of the Impossible’ (1) a book about the study of paranormal activity. Kripal is a historian of religion and his expounding of the inscription of the future is something which has been evidenced over the past century by media like Metropolis, Star Trek and many other sci-fi and fantasy authors, not least Ron L Hubbard whose presence is felt on the fringes of this work. Kripal submits that the technology written and performed about the future has an observed tendency to come into being around 50 years later. This is a view which I appreciate and also see present in the writings of Marina Warner and Donna Haraway; a call to start writing those positive narratives, now; to write ourselves a better future. In conversation with Anne Bean, who I have had the privilege to meet through Rob recently, she suggested, that once the intention is created the act is done, similarly as the word hits its support, the future is written, Kripal emphasises that once a concept is, literally, put into the printed work and image and then into the collective (and now can of course include web, moving image formats) it becomes our future.
Personal reflections
I wanted to ask Jeremy Narby about the language used around science. Lucky enough to speak (as a stand-in) at Breaking Convention 2015 I heard his keynote address. Breaking Convention is one of my favourite conferences, although my work is about non-drug related states of consciousness so I can be considered a little square for the venue. That year it was noticeable that the adjectives used, by scientists when speaking, had moved from formal, clean if rugged language, which favoured words like ‘robust, thorough, rigorous, evidenced’ to being more esoteric in tone; ‘magical, mysterious, otherworldly, ethereal and fairytale’ language had seeped in.
Previously to mention consciousness outside of a biochemical and neuro-scientific set of linguistics was something which would exclude you from serious circles unless your choice of words was very ‘clean’. Suddenly it had transformed to a positively spellbinding vocabulary. Have Jeremy and others noticed this? It would seem that scientific thinking and openness has blossomed, from exchanges and events like The Incident, which formally asks the questions they have not been permitted to and it has had a reflexive effect. It, along with other events and pioneers has had a real impact in the validation of art practice as research.
Time is one of the principles at play in The Incident, real tick-tock time, as well as spacetime, future time and environmental time. Unseen connectivities, human symbionts and chimera’s, telepathic and psychic ability as well as UFOs in all their potential forms; so hugely discussed and experienced but rarely validated. Challenging of the limits of the capabilities of human body, exploring consciousness in varieties of altered states and how subjectivities are known, recorded and witnessed.
Rob La Frenais with the ‘Alien’ stuffed toy gift. The Incident 1995. Photograph © Eliane Laubscher.
To paraphrase Rogers, The Incident events were some of the few occasions that speculative/introspective science, the arts and spirituality examined and exchanged goods, a ‘marketplace’ … It brought together early ideas around the connective consciousness of the internet, ethno-pharmacology, genetic engineering, artificial intelligence, alternative systems of knowledge and mind, psychedelics and potential futures. McKenna presented work on mycelia and alien intelligences and another thread of The Incident dwelt in the imaginary spaces around alien life hypothesis and UFO’s as well as plant medicines, symbiosis and prompting the active creation of new paradigms for future generations.”
Screen Shot of the server built by Homer Flynn and The Residents
Some of those who spoke at Sym-bi-o/Living Together at the Limits of Science:
Rogers is a life-long educator and communicator as well as an artist/curator, like La Frenais, working with an intentional, multidisciplinary awareness. She specialises in bio-art, integrative systems which include but do not always centre the human body and is a Professor of Media Art and Sciences at the University for the Creative Arts. Her work is elegant and functional, incorporating beautiful observations of the natural world and exploring reciprocal biomimicry.
Activist and author Jeremy Narby works with indigenous Amazonian peoples, as a fund raiser and an activist for these communities and wishes to make their language and knowledge available to the rest /west of the world. Listening to the voices of the people of the rainforest, he co-explores ways of knowing very differently to that of reductive science.
Image above ‘Black Lace’ by Kathleen Rogers
Rob La Frenais is an independent curator and writer, who worked with Action Space, Performance Magazine, Edge Biennale Trust and The Arts Catalyst. He has additionally worked on projects with artists including Marina Abramovic, Stelarc, James Turrell, The Otolith Group, Tania Candiani and HeHe. He is currently developing his own performance piece ‘On The Water’, engaging rowing clubs around Europe.
Another Incident participant present again in 2021 was Rod Dickinson; a personal hero and legend. He is the original maker and instigator of the ‘Crop Circles’ hoaxes of the 1990’s. His work has become fact for many believers in extraterrestrial life forms visiting earth. His complex, giant, wheat -based works were sited in a multitude of farm fields, and which have had many subsequent emulators and have intriguingly become science-fact rather than science -fiction. Only recently whilst watching a Boston University lecture on Biblical women I was amazed to see that the 153 (number of gematria) was being compared to both Da-Vinci’s last supper, the name of the Magdalena, the divine feminine and ‘left-hand path’ – and to Rod’s crop circles! This impact is time-full and in the following decades has perhaps parallels with Orson Wells ‘War of the Worlds’ radio invasion. Despite global success and the creation of a cult like following, the work was not a monetary success, as the documentation and physical works remain in the hands of others.
All members of The Incident warrant a paper or blog on each of their practice, their presence and work at the events as well as the legacies and impact they have generated, globally. The themes of the conferences and exhibitions all remain fundamental to our experience of human be-ing.
The original projects remain as inspired and challenging today as they were at their inception. They tackle Fortean ideas, some of which remain on the fringes of society and others which, whilst considered folkloric and or magical, remain at the core of common socio-political legend and language. We are perhaps all more familiar with the precise meaning and use of the term UFO than the word epigenetics.
The Incident artworks include conceptualised processes of telepathy, telekinesis, self-immolation without harm, totemic and ritual works, many centred on the non-material senses of sight and sound. An elemental investigation into the non-material nature of the world with a material starting point and inevitably, consciousness, the ‘mind-body problem’.
Image; From the Swiss Press. Bruce Gilchrist photographed by Eliane Laubscher during his ‘Day Sleeper’ performance.
Image above, Kathleen Rogers
This is still as prominent a problem in the early 21C as it was in the late 1990’s; thinking in physics and neuroscience has been as imaginative and fairytale like throughout these times as it ever was (If bound by different languages). The ‘religious’ influences and potentialities of science have been a fascinating underpinning destabiliser of the political power systems play since Plato, Socrates, Copernicus and Galileo – the stereotypes, archetypes and language around scientific imaginings as influential as its commodification. Almost always there are the huge gaps between the adepts and the punters, those who play with and manipulate the sciences and those who buy into the commodification of them, without any comprehension of their machinations. And above them their paylords.
A brief description of the background to the Incident
The project started in 1993 with La Frenais visiting Flagstaff USA. He was sent by Northern Arts in the UK to track down James Turrell and create a Northern Skyspace. In his aircraft hangar studio, where they drank fine malt whiskey in his extraordinary library of UFO literature Turrell explained his personal experience of a UFO encounter whilst flying as a U2 spy-pilot. These planes were flying over China and a typical saucer flew alongside his plane for over half an hour. Turrell himself questioned his own psychological space around this event. He agreed, generously, to help organise the event in Switzerland.
Above, still from Kathleen Rogers ‘Earthwire’ 1993
Rob also describes the previous ‘Earthwire’ event where he, Rogers and Gilchrist began their working relationships. Kathleen had been investigating the Ganzfeld technique for telepathy, and created an event called ‘Psi Net’, around Skelton Pit (UK) with Audrey Watson the medium. Infra-red cameras, BBC live broadcast teams and remote audiences were used. Gilchrist’s piece was a ‘sleep based’ piece, where the artist had reversed their sleep patterns and attempted to send code, from a lucid dream state to an audience, again at a distance. From a media perspective this event’s name ‘Psi Net; resonates with the Sky Net of the popular Terminator films current at the time. It set about opening up linguistic and symbolic undercurrent and tapping into collective visual and narrative consciousnesses. From ‘Earthwire’ the collaboration of The Incident grew.
By 1995, La Frenais and Rogers had established reputations both as curators and artists, then as writers, editors and facilitators, collaborating with and supporting cutting edge practice, with an anthropological and vital research interest in performance art and the esoteric, with its ongoing historical, complex accord.
As mentioned, they received the influential support of James Turrell, bringing together contemporary artists, activists and thinkers to create a public, international ‘Incident’. It was at first received slightly suspiciously by a conservative and nervous Swiss audience as both breaking new ground and wasting public money but then went on to great success at the ICA (London) where it was able to excite audiences and reviewers alike. It was a stellar list of participants, all who are remembered in 2021 as being great-hearted, open and active in their support, despite debate and differences of opinion they offered a collaborative practice which was genuine and generous.
Water Maps from Rogers research in Fribourg
From the Sym-bi-o/Living together at the Limits of Science text:
Rob La Frenais directed these two radical events; at the Belluard Bollwerk Festival, Fribourg, Switzerland (1995) and at the ICA London (1996). Each sought to chart radical paradigm shifts in human evolution and featured artists, scientists, musicians, visionaries, philosophers, psychologists and critical theorists. In the '90s Rob La Frenais and Kathleen Rogers worked closely in producing their intellectual framework and themes.
Kathleen Rogers at The Incident 1995. Photograph © Eliane Laubscher.
Rob La Frenais directed these two radical events; at the Belluard Bollwerk, Fribourg, Switzerland (1995) and at the ICA London (1996). Each sought to chart radical paradigm shifts in human evolution and featured artists, scientists, musicians, visionaries, philosophers, psychologists and critical theorists. In the '90s Rob La Frenais and Kathleen Rogers worked closely in producing their intellectual framework and themes.
The ‘Sym-bi-o/ living together at the limits of Science’ study day reunites them as intellectual conveners alongside previous Incident participants, with the anthropologist and activist for the rights of Amazonian peoples, Jeremy Narby.
Former Incident participants included - Terence McKenna, Roy Ascott, Rod Dickinson, Kathleen Rogers, Anne Bean, James Turrell, Marko Pelihan, Linda Montano, Minnette Lehmann, Erik Hobijn, Connie Samaras, Bruce Gilchrist, David Peat, Beata Bishop, Eduardo Luis Luna, HR Giger, Robert Fischer, Homer Flynn (The Residents) , Jacque Vallee, Jeremy Narby, Ulrike Rosenbach, Kristine Stiles, Michael Lindeman, Keiko Sei, Michael Lindeman and The Shamen.”
Present together with La Frenais and Rogers at the event in 2021 were original participants Rod Dickinson, Anne Bean and Marko Pelijhan who contributed their personal memories and perceptions of the event.
Anne Bean assisting Ansuman Biswas in the construction of works at The Incident 1995. Photograph © Eliane Laubscher
The original Incident in Switzerland in 1995 happened in a world where the internet was only just present, artists like Ghislaine Boddington were creating telematic and server based events, what we now call STEAM was developing slowly with the influence of film and TV as aides to the public reception of new tec. is apparent throughout. Even though the internet had been invented at CERN, only 100 kms away, computer technology was not yet a domestic mainstay in Switzerland. La Frenais had the only modem in Fribourg at the time and uniquely used the internet to contact some of the invitees, like Jacques Vallee and Roy Ascott. For the convening of the event they set up a basic Mosaic site on a big screen which integrated live performance and web surfing and live streaming for the hundreds gathered at the opening, with a live event by then legendary and mysterious US West Coast group The Residents, represented at The Incident by anonymous member Homer Flynn.
Rogers’ work at The Incident was inspired by the river running through the city, titled, ‘Water consciousness and the memory of Water’. This involved dowsing, map making and searching for water sources, filling bottles with gathered water and making vast installations in some of the medieval sites around Fribourg.
Anne Bean, refused all documentation of her work as part of the process during the incident and is photographed assisting others, she remembers the energy and conviviality of it. Her 2020 works have been based on the River Thames and its waters, the piece comprised a year of monthly performances based on the lunar and tidal systems and was called ‘From Hell or High Water’. The themes of elementals, environment, interconnectivity and the solar system still continue to the present in their works.
A sketch of Anne Bean’s piece at The Incident by her son Ezra Rubenstein. 1995
Reflections on research contexts, personal and public events
COVID 19 has seen a burgeoning of online events, and of new pieces of digital/performance work, including a more serious attempt to archive and contextualise it. ‘Before the First’ by Susan Fuks, which has spread as an infomeme throughout social media. It tracks performance artists asking, ‘when was their first internet performance?’ simultaneously tracking the evolving technology(2).
A cyber bestiary for the modern age.
Thinking hard about my own experiences: working with European feminist cyber-artists/activists like SpiderAlex, (Spain) media artists,Doplgenger (Serbia) and on my own projects ‘The Atavist Tarot’ : tracking back my own history engaging with digital and satellite technology and realising that the two key memories I have of technology and performance/public spectacle are, the 1981 British Royal Wedding of Charles and Diana, which, incredibly, was broadcast live around the world to millions. I remember sitting in a tent at the Royal Norfolk Showground not enjoying it but aware that this was a huge, novel, collective experience.
The same can be said for the second, Live Aid, 1987 (which was also using the patronage of the royal family as well) and although I enjoyed this event far more, both represented civic ceremonial ritual at the highest level.
These were simultaneously the most mainstream and most technically challenging spectacles of the time. Using NASA and Silicon Valley-developed equipment, but at the time driven by sports coverage, there is also the third memorable event - the live streaming of the tragic last moments and explosion of the space shuttle ‘Challenger’ in 1986. These were the most widely viewed, real-time ‘performance’ events of my generation, using its technical cutting-edge capabilities which have morphed seamlessly into our current digital internet world in the domestic environment.
Above, Rod Dickinson in a crop-circle.
Richard Barbrook was mentioned by Dickinson as one of his tutors during the conference, Barbrook writes and speaks with extraordinary clarity on the link between European occult and esoteric practices, Silicon Valley and the Women’s movement, clearly showing their connected evolution and concussions. But, the availability of these technologies is almost always driven by corporate or state directives and by individual personal wealth (access). Not by the Caractacus Potts style fictional inventor in ‘Chitty Chitty Bang Bang’ who must (to me) have inspired Elon Musk with dreams of flying cars. My exposure to this new meta narrative in the 1980’s was from the dominant social paradigm – TV, giant media corporations and heavily endorsed celebrities and pop stars. We sensed the potential power of the collective, something long gone from the pulpit and went for the full baptism, away from individuation, handing over control to media giants like Sky and the Murdoch Empire, to be spoon-fed our information, to be receivers, passive gobbling individuals.
And on the subject of Disney… see ‘Vinyl Leaves’ by S.M. Fjellman where he surmises that its utopian world is ‘postmodern’- a place where the distinction between real and fake is no longer important, a potent legacy. (3)
We have been groomed for this slide into ‘Yetziratic’ (from the Kabbalah) psychological space, virtual reality, faux contact and we are, always, an adaptive species. A peak example of the absorbance of counter-cultural social ritual being the spectacles created by Cirque de Soleil, masterful ‘high catholic’ performance! In contrast the actors of ‘The Incident’ seem like the stylist monks and saints from the first millennia whose work was devotional and who stood on rocks and contemplated in caves for years at a time and whose reach was arguably more influential.
Late 20C artists, activists and thinkers however, did not follow this route into the mainstream media current – they were active and investigative full of ideas around the (im)possible and (im)probable with new means to work collaboratively and inquisitively in a broader, more individual manner, in relation to the self the human.
In the early 20C the links between science, technology and magic were still very strong, with the workings of Jack Parsons and Frank Malina being well known, as was their relationship with Crowley and his magical organisations. These ideas went on to influence American cinema and counter-culture with film makers like Kenneth Anger, the great American poets and writers of the 1960’s, thinkers and philosophers like the late Terence McKenna, who was in The Incident. The Incident is a reminder that we are part of a chain of history, that we also inhabit a silo in time and that we are just grist to the mill.
In 2020/21 the internet is suddenly full of environmentally-based, nature-based, techno-magical performances, group practices and performances led, on zoom, many by younger artists, often, women, like Jatun Risba who, are evoking/echoing the natural/nature/magical practices of the late 19th Century, with some extraordinary performances and films – see the link to ‘Be-coming Cow’ below.
Still from the ‘Earthwire’ performance 1993. Skelton Pit. UK.
This canon of post-disciplinary and performance art has hovered in many liminal public and private space for the past century and its relationship with technology is ever present and older. Science and technology having replaced the millennia- old formats of ritual and initiation through human performative rites for health, religio-magical and philosophical inauguration. The relationships between religious and cultural spaces have moved from pulpit to cinema, sacred space or reliquary to gallery and with real-time and performance or site specific works into a variety of unused, unusual municipal, natural and abandoned spaces. The ‘artist’ can thus assume the role of alchemist, hedge priest, magician, bard or fool, a personage who can transcend the nomian boundaries of society in the public domain. One is reminded of the illusions and great public spectacles in Chaucer’s Canterbury Tales, and the alchemy of the Squire’s and Canon Yeoman’s Tales (4)(5).
I have a copy of the January – February Issue of ‘Performance Magazine’ from 1982, borrowed from La Frenais who was both editor and contributor. In it there is an article called ‘Magic and Performance’ in which he addresses the difference between (performance) art and magic, citing intention and freedom of interpretation as two of the main differentiators, but acknowledging, “ Occult material has always been a tempting source for experimental theatre”. There is an underlying suspicion of the un- or partially known, and modern science and technology (and its marketing) has exploited this ignorance and lust for spectacle just as well as any snake oil salesman or woman burnt for being wise. This ‘trust’ in technological advance, has already positioned its audience into a space of being awed, and an anticipation expectation of the ‘next marvel’.
Humanity and Reality – back to The Incident
The Incident viewed through a time gap of 25 years allows us to see clearly where real or assumed advances have been made. Not least advances which have cost us our living environment. Haraway’s seminal work ‘Staying With The Trouble’, (2016) (6), is cited several times as an influence on Rogers’ work. The older participants appear less concerned with human cyborg-enhancements and prosthetics than environmental impacts, advances and symbiosis with Nature and for my part, I am happy with that. I have had the privilege to sit through the British Neuroscience Association Conference meeting on ethics in the early twenteens’s and was terrified and horrified equally.
As previously suggested, The Incident pulls us back to archetype and away from stereotype, bringing us back to the interconnectedness of the human being/human body and Nature/the natural world. Worlds bound by laws which we seemed destined to pick apart and command. Rogers’ pieces demonstrate this fragility and complexity exquisitely. The technology is of course important, but for La Frenais, it is the live, physical presence, the human contact and interaction with others which remains a priority, perhaps even more so through the pandemic.
Jeremy Narby in his presentation grounds the work solidly in the pragmatic engagement and activism he undertakes and talks cautiously about the dangers of taking psychedelics, however, all the works and working practices of these artists, which continue to balance contemplation, devotion and action as the triune basis of their practices have a political content. The nature of being a performance artist, is one of taking up public space, bringing your ‘goods’ to market, out of the silos and exchanging them, be they practical, nourishing or genetic. The fluid acumen of media studies is not often publicly valued, but as a critical tool it is the most broad and current and in a world of changing mediascapes it especially valuable.
To End:
The work around the revisiting of The Incident raises possible futures. Not least a broader and deeper documentation of it than currently exists – a book? a film? a website? The wonderful images taken by the event photographer Image of The Incident 1995, Eliane Laubscher hold the potential for a wonderful publication.
Or perhaps another Incident? (Sur ’internet or en realité?).
The Incident is perhaps a misnomer as it implies a brief, time-bound event, complete in itself. The Incident remains an unhurried, time-full piece that, reaches forward in time and of which this Symposia is just one element. May it long continue.
Michael Heim’s classic book Virtual Realism – has a chapter on The Incident
References
1. Kripal. J. (2010) Authors of the Impossible – The Paranormal and the Sacred.
University of Chicago Press.
2. Fuks. S . (2021) Before the First. Available on line @ https://vimeo.com/503467731?fbclid=IwAR2j09imOYoAW9sCxVr7ZGZjVG4l0pdAp98RdgoxPRSYQDqic6Y4vEp7xXo
3. Fjellman. S.M. (1992) Vinyl Leaves: Walt Disney World and America (Institutional Structures of Feeling). Routledge.
4. Bussiere.M (2009) Angelic Demons: Witchcraft and Sorcery in Chaucer's Canterbury Tales.
Seton Hall University. Available on line @ https://scholarship.shu.edu/cgi/viewcontent.cgi?article=1731&context=dissertations
5. Lionarons.J.T. (1998). The Chaucer Review. Vol.27,No.4 pp. 377-386 Published By: Penn State University Press
6. Harraway. D. J. (2016) Staying With the Trouble. Duke University Press.
Links
7. https://www.youtube.com/watch?v=A0bmGTLrAhY The Royal Wedding
8. https://www.youtube.com/watch?v=8a1ZF6gJ3fk&list=PL2bek2h-pjmTJ8HgRHX8_iTR6IlwX7aC6
Live Aid
9. https://www.space.com/18084-space-shuttle-challenger.html Space Shuttle Challenger
10. Chitty Chitty Bang Bang https://en.wikipedia.org/wiki/Chitty_Chitty_Bang_Bang
11. https://jatunrisba.com/be-coming-cow-2020/
12. https://www.foto-ch.ch/?a=fotograph&id=24160&lang=fr Eliane Laubscher
https://www.archivesdufuturanterieur.net/fr/agenda-afa/
3. https://www.kathleenrogers.org
14. http://roblafrenais.info
15. https://annebeanarchive.com
16. http://www.birgittahosea.co.uk/pages/photosonic2.htm1
17. https://londonfieldworks.com/About
18. https://www.roddickinson.net/pages/index.php
19. https://en.wikipedia.org/wiki/Crop_circle
20. http://www.circlemakers.org/new_documents.html
21. https://v2.nl/archive/works/delusions-of-self-immolation2
22. https://greatmystery.org/jeremynarby/
23. https://jamesturrell.com
24. https://www.ica.art
25. https://www.westminster.ac.uk/about-us/our-people/directory/barbrook-richar
26. https://en.wikipedia.org/wiki/The_War_of_the_Worlds_(1938_radio_drama)