raphael jay adjani
Works in London United Kingdom of Great Britain and Northern Ireland

raphael jay adjani is directing the research project '8'
a.k.a. 'ecosophy 8'
a.k.a '8 technology,
of Goldsmiths, University of London.


brings together science, digital technology, south asian philosophies and japanese aesthetics and other things - to create sublime works of art that shed light on our contemporary ecology and being.

this series of works for galleries, theatres, landscapes and architectural sites take place in europe, japan, new zealand, the u.s.a., and the global medium of the internet. drawing on the inter-active, immersive and multi-sensory qualities of the japanese tea ceremony (known in japan as sado), 8 create exquisite, sensuous experiences for today’s global society.

this all begins with the conception of ‘zero’. zero was conceived by mathematicians in ancient south asia. zero’s conception could be seen as the historical and conceptual starting point of our contemporary digital age, which in mathematical terms requires zero for its binary system.

i_magine and the red cube series, like other 8 projects, use contemporary processes and technologies of the every day, to explore the concepts of zero, of void, and of emptiness. the buddhist concept of emptiness, which in sanskrit is the same word as zero, is based on the idea that all phenomena exist only in relationship to each other. the japanese word for the human being, ningen, conceives the human being always in relationship to her/his environment. the japanese word for society, the world, seken, conceives a ‘world-in-relationship’. such ideas lead us to what might be called a ‘deep ecology’, where human being is not at the centre of the world, but a part only of enormous web of life with which s/he is constantly inter-acting and engaging with all other phenomena.

8 is examining ‘being’ within a particular framework, dynamic, and flow - intellectual, conceptual, artistic - that notionally begins with the original manifestation of tantric ‘technological’ and ecological practice in south asia.

this technological practice is paralleled by heidegger’s thinking on techne.

furthermore 8 engages with contemporary ideas of non-anthropocentric being and ‘deep ecology’, and relationships between science and philosophy such as those of austin, bateson, capra, damasio, heisenberg lovelock, margulis, maturana and varela, naess, pert. It culminates in investigating the possibilities of developing such a notion of being in relation to architectural processes and internet technology.

8 explores such ‘big’ ideas through the intimate and sensual medium of a contemporary tea ceremony.

one of the influences on tea ceremony could be described as an aesthetic of ‘artless poverty’ or wabi sabi. Another is the notion that the sacred is found in the every day.

engaging with this idea, in many contexts, 8 deliberately use found objects and technologies: making films, stills, and other work images with ‘lo-res’ cameraphones, the corporate technologies of powerpoint, keynote, and the personal processes of iweb, imovie, etc. imperfection is pre-requisite. There are some resonances here with arte povera; the way french ‘new wave’ cinema directors used 16mm in the 1950s; and the way later godard and marker used 8mm and then video.

here, like the tea ceremony, each art work is designed specially for the specific location, the season, as well as the mood and sensibility of its audience or guests. the tea ceremony is an art work that dwells in the realm of the senses: touch, smell, sight, hearing and taste all combine to facilitate the possibility of its participants glimpsing the sublime, touching the void.
Discussions (0) Opportunities (0) Events (1) Jobs (0)


Thu Dec 02, 2010 00:00 - Wed Dec 01, 2010



an art experience in architecture, film, light, and music

King Mongkut’s University of Technology Thonburi (K.M.U.T.T.)
School of Architecture and Design,
Bangkok Code Building,
Sathorn, Bangkok
By: Surasak BTS station, Exit 3.
Parking available in Bangkok Code

Thursday 2nd December, 19.00-21.00

Conception, Photography and Videography: raphael jay adjani

Curation: Chanyaporn Chuntamara

Music Composition: Rapeedech v. Kulabusaya

Film Editor: Daniel Somerville

Admission: Free, but by email reservation only to Chanyaporn Chuntamara at chanyaporn.chu@kmutt.ac.th

Refreshments to be Provided

atmospheres transforms the industrial atmosphere of the King Mongkut’s Sathorn campus through film projection, live improvised music, and evocative use of light and architecture to create a sublime art experience . This visually stunning and memorable experience is conceived by U.K. based artist raphael jay adjani, and evolved through a collaboration with Thai based composer Rapeedech v. Kulabusaya, who produces the most haunting and exquisite live piano arrangement in response to not just the film projection, but the mood and atmosphere of the place and audience he encounters on the night.

atmospheres draws inspiration from the stupendous tantric cave temples of Ellora and Ajanta in India, the exquisite designs of Japanese architect Tadao Ando, the inter-active and immersive processes of the Japanese tea ceremony, and ideas of Vipassana meditation, to facilitate a sense of deep relationality of all phenomena, human and non-human, and of relationship to place and time.