This publication, after all, is a result of synchronicities. It is not only about them but has emerged from them, has brought them together, attracted and encouraged them. Our aim was to gather and interweave personal stories from our lived experiences rather than approach the topic from a theoretical and analytical perspective.

Synchronicity refers to the simultaneity of a certain internal state with an external event, in which both appear in complete accordance. The significance of such phenomena can range from getting a phone call from a person at the precise moment you thought of them to dreaming of a life-changing event that becomes real, through to deeply impactful symbolic or spiritual experiences. The phenomenon was and is described across centuries and in various cultures. As an experience that almost always astonishes and startles us and often produces a certain degree of bewilderment or disbelief, it is not surprising that there are numerous theories, interpretations, and attempts to grasp it. Some link it to fate or god’s will, many follow esoteric or magical traditions, and others are of a more psychological or scientific nature. Our intention in this book was to actively search and create the space for multiple perspectives on synchronicity. Thus, the working hypothesis during production was to define synchronicities in the broadest sense as events in which the boundaries between the internal and external world(s) temporarily blur or dissolve – and leave any further considerations to the contributors.

The editorial concept was based on a methodological approach, which itself was developed as a consequence of a shared synchronistic experience: the simultaneous vision of an object, containing multiple variations of itself like a Matryoshka doll. The notion of nested objects composed of a multitude of interwoven, yet individual iterations, formed the basis of a descriptive approach with the intention to facilitate multi-perspectival and kaleidoscopic points of view. This methodology was given to the contributors as a rough guideline for their contributions and could be freely interpreted. In more formal regards, we asked each contributor to choose an object or place, which, for them, is connected with a personal experience they consider to be synchronistic. Each object was photographed and then processed into 3D models to form the images preceding each contribution. Similar to the nature of our memories, the objects generated in this way are usually imperfect and fragmented depictions, inhabiting a liminal space between photographic accuracy and virtual artefacts.

What began with the same parameters became a diverse collection of works in both form and content. Nonetheless, between visual storytelling, essays, poetry, articles, and text collages, many substantial connections and intended and unintended cross-referencing could be found. This led to the sequence of contributions to form by itself, travelling from the conscious to the depth of the earth through transformative, dreamlike states and back again.

Stella Jermann, Jan Hunkemöller