The Project
Interattività sincronica can be considered halfway between an experiential installation belonging to the contemporary field of "Interactive Art" and a real research device: an experimental psychology tool of investigation, developed in order to collect numerical data, to be statistically analyzed, on synchronicistic experiences.
The installation provides a visual and sound interaction with an active participation of the user, who, at the end of the experience, receives a response-word resulting from the exchange of information, both concious and unconscious, within the interactive platform.
In this first part of the experience, the user can enjoy the experience of a peculiar, "oracular-like", participatory artistic installation.
After the response is obtained the real experimental phase can start: a poll is provided to the user and data are collected and statistical analyzed.
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​"The project represents an innovative approach, both conceptual and operational, able to combine, artistic dimension and scientific research."
Concept
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The experimental design has been conceived starting from the PEAR scientific protocols (Princeton University) in the field of mind - matter interactivity (Jahn et al. , 2007; Duch, 2003; Jahn & Dunne, 2001). The data collected by the PEAR project in over thirty years, revealed the existence of a statistically significant influence of human operators on the frequency distributions of outcomes produced by random number generators (REG) exert exclusively by mental interaction (micropsycho-kinesis: mPK). This correlation demonstrated the evidence, even without explaining its intimate nature, of an interference between mind and matter. Since the publication of the first results a lot of scientific literature (especially in the field of physics and computational statistics) has been produced with the intent to develop both theoretical and experimental tools to better solve the phenomenon recorded at Princeton.
The same researchers of the PEAR, followed by other academics, have finally recognized in the principle of synchronicity of Carl Gustav Jung and Wolfgang Pauli (Jung & Pauli, 1952), explained as generalized quantum entanglement, the more adherent theoretical context of the collected and published data ( Moreira et al., 2015; Duane, 2015; Lucadou et al., 2007; Jahn & Dunne, 2001; Pallikari et al., 2000).
The concept of synchronicity was developed by psychiatrist Carl Gustav Jung in 1952 together with the Nobel Prize for physics and father of quantum mechanics Wolfgang Pauli.
According to the definition given by the two authors, the synchronic phenomenon is the result of two distinct phenomenologies:
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a subjective unconscious image that presents itself to consciousness (in the form of sudden thought, dream, presentiment);
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an objective fact of life (objective external occurrence) coincidentally meaning that unconscious content.
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These factors will be linked by sharing a meaningful symbolic meaning, however, at the same time, to a zero probability that one has physically caused the other.
In the volume published together with Pauli, Jung presents, finally, an analogy of synchronicity through the ancient experience of I-Ching and, by extension, to the experiences and practices oracles and divinatory so deeply common to all human cultures (aruspicina, taxomancy, apantomancy, aeromanzia ...).
