chapter 10 What is ‘mimetics’

NB 1. the contents of the chapters posted here, constitute a pro forma for a project to be published under the ISBN 978-0-6483289-9-5. The finished project which has no deadlines or committed time line, is intended as an expansion of the chapters posted on this site. Unless otherwise advised please consider this text as subject to copyright.
NB 2. some content on this page is graphical and is automatically ignored in the format of a ‘post’; it will appear as empty brackets.

As I previously, briefly revealed in my ramblings on the subject of the ‘Visual Codex’, my first personal sense of alienation from main stream society was made evident by my primary school teacher. With a naivety that was already excessive for my age, it did not immediately occur to me that I was defective, maladjusted or abnormal in any way ( an opinion I still hold ). I liked to draw things and that entertained a few, confused more and delighted many who appreciated, that the tutors frustrations were focused on somebody else and not them. I do not recall being thanked.
I do not deny that the continual reprimanding, occasionally upset me. It was only when she began to lock the classroom door, forcing me to leave via an open window, that my parents were alerted. If it worried them I was unconscious of that, and still managed to get some kind of education.
Anything that involved drawing was obviously attractive to me. My socio economic situation meant that would be the trades or engineering. What did occur to me as ‘strange’, was that the constant fascination of how a representative image could be so readily and easily understood, was not widely discussed in this world of eminently practical people. If I inadvertently spoke along these lines, the blank stares were enough chastisement to make me realise this was a private obsession. So except in the privacy of my solitary time I put such ruminations to one side. Life and love were perfectly enjoyable without such complicating intricacies.
All of this biographical nonsense I have chosen to share to explain how by pure accident, my trade became machinery and my task was utilising the rapidly evolving power of the microprocessor. For obvious reasons layouts of control equipment attracted my attention, and to my satisfaction that has become a recognised aspect of performance and safety.
Initially all machine controls were just labelled. In the worst instances they formed a cluster of evenly spaced, identically sized and shape buttons. Sometimes buttons were colour coded to enforce the operation of a button, red to stop, and green to go. Eventually button graphics took on more descriptive symbolic forms, such a ( ) to describe lift doors close, ( ) or open. This also spilled over into the public arena where symbols such as ( ) for men, and for women were commonly the only designation for a toilet. It is fascinating that there is no symbol to say ‘toilet’ and only both signs together means ‘not sex specific’. Every hour in this internationally biased world, new forms are invented and mostly they are interpretable by all parties, some becoming ubiquitous.
As technology exploded the availability of graphics and screens to display them meant both invention and usage of graphic symbols also blossomed. On modern cell phones with a few buttons but the rest of the options nominated by touching icons, this trend has became common. Graphics has become a communication utility. It is unsurprising today to open a ‘flat pack’ and instead of a ream of printed instructions, in multiple languages, there is just a clear sequence of diagrams and recognisable symbols; allowing even the illiterate to assemble the product ( presuming, the not always true, that they do fit together ).
Industry had discovered graphics and the tools to apply them to their unique communication requirements. It is obvious that what is being exploited here are ‘memes’, not graffiti memes that are so popular on the net, but they are the forms that so implicitly the mind can learn, and believe. Amongst my technical handbooks I have many dedicated to such symbols, that have become industry standards and under certain safety codes, mandated descriptors.

The above is, at least in my reserved opinion, a contemporary development of Mimesis, a subject as old as ancient Greece, and continuously updated, although hardly ever reached greater heights of public attention than Plato aroused. It was Richard Dawkins in his 1976 book ‘The Selfish Gene’, who proposed what many sensible critics consider pseudoscience, the idea that meme’s effected ‘evolution’. I will allow the nets own encyclopedia to do the documentary background, at https://en.wikipedia.org/wiki/Memetics .
Although I can readily agree that to call the modern interpretations by Richard Brodie, and Aaron Lynch, ‘science’, is not justified. However for purely subjective significance, there is something endogenous to the prevalence of ‘memes’ in their modern net spawned reincarnation. It jells with my understanding of how we see; or ‘perceive’, in general.
Personally it makes more sense that what we see, in the adoption of the visual language by technology, is a version of what ‘memetics’ is alluding to. It is evolving in machine code if not the genetic code. And for my private satisfaction, that is a production of the minds natural methodology of creating ‘forms’ from the visual sensory data and assembling these forms into structures that are beliefs; which are the fundamental elements for developing the structure into what we might refer to as knowledge.

Technology knows it is poor business to allow barriers to stand between a product and a client. Using the elemental forms of the Visual Codex, their response is just a hint into the enormous capacity there is to exploit it; for good and bad but inevitably for the forward motion needed for ‘believing’ to challenge ‘nihilism’ as a progenitor of ‘contemporary metaphysics’. Note that as described in other places of this series, it does not matter ‘what you believe’, only that you ‘care’ enough to believe.
In the case of the ‘World Wide Web’ the packaging both intentional and incidently, into content is different to the use industrial technology makes of the phenomena. However the basic elements are the same and obviously more extensive because the net is a much more diversified environment than a machine.
So far the story projects an exciting future of cheap mass communication for social networking, learning and information. This is not totally abandoned in cyber space but it is the most despicable traits of human nature that have infiltrated every nock and cranny.
Out of this scenario a new problematic environment has emerged. It is identified by terms such as ‘Fake news’ and ‘alternative facts’.
In the social media world it has precipitated behaviours such as ‘trolling’, ‘cyber bullying’ and a plethora of associated malignant practices, based on the anonymity it provides.
With election rigging, some of corrosive practices really hit the big time. Today the net is plagued with security threats.
To appreciate what this means to the utility of the net we will all be involved in deciding; first for ourselves and collectively in what individual users will be free to do on the digital communication platforms that facilitate it.

What does the visual codex add to the net?
As far as net opinion sharing goes it is best if a contributor veers away from the confrontational character of words and rather makes a point by begging a question. The innate reaction a person has to the expression of an opinion, contrary to theirs, is to defend the position. To avoid this impulsive response and make a constructive criticism to another’s opinion, it is prudent to question it. Not aggressively or with belligerence, but inclusively; allowing that their opinion is rationally worthy of debate. Hopefully the reaction, while still being defensive, is also to some degree, to be a justification, which at least requires self analysis.
Everybody has an opinion. I don’t know if we all need so many opinions but virtually everybody has them and they are heavily traded. They are also constantly assaulted in the media and the deceptive element of the media, including the uncontrolled net space, is inevitably available to deceive the gullible, and influence the ill-informed. There will be many versions of ‘how to counter’ this reality. The ‘Visual Codex’ is but one, but a powerful tool, perhaps the most obvious source of tactics to bypass a wall of bias.
The craft of the ‘press photographer’ is one obvious source of mimetic material. As most individuals armed with a cell phone camera are virtual ‘paparazzi’, that propensity of a picture to be a ‘witness’ to a fact is something we all should have knowledge about. Because an image has such natural authority when we actually see it with our own eyes, it is easy to forget that the digital image has not such claim to authenticity.
The tools to manipulate an image even exist on cell phones, including video. Such an example was perpetrated when the media manager for President Trump, retweeted a video clip that was manipulated to misrepresent an actual event. Many net meme’s are reproduced images and have dubbed text, intended to either amuse, insult or abuse. The individual is totally responsible for deciding which is which.

I am more interested and as I revealed above, may be obsessed, with what useful tools are available from the lexicon of the visual codex.
A receiver of an image opinion whether solicited or not, initially, subconsciously assesses it. As this process in many ways calls up ‘forms’ that are unpolluted by learned bias, the reaction is acceptance, the first stage of belief. A visual opinion in many ways is partially an entertainment because the innate ‘child’ in us is attracted to the novelty of an image. If it is done in an amusing style it only enforces the appeal. Potentially the visual language opinion can hold several psychological elements that improve and even significantly effect the resulting perception.
Some who seek to have their opinion noted, do not care if it is effective, may even intend it to be offensive and confrontational. They resort to lewd content, or depictions of violence; the weapons of aggression. It is absolutely mandatory that such material not be given attention just because it appeals to the voyeur in us all. In time the net will be modified as net service providers are forced to take responsibility for their content but that is a very perplexing balance that can’t be give due respect in these paragraphs. On the net most content is banal gossip or blatant commercialism but the valuable information is there, under layers of trite nonsense but worth the task to find it.

How the visual codex can be used, for those who have opinions that they desire to share, is according to myself, best done by single images. It is a valuable enterprise to learn the visual language because it can say things that the observer would not necessarily find receptive in any other format. The reason this effect can happen is in my opinion, due to a phenomena not unlike that described by mimesis. Maybe not Plato’s ‘correspondence to the physical world understood as a model for beauty, truth and the good’; but in the more contemporary notion of reality, as a subjective manifestation of our perception. Note that this is not the same objective reality that is ‘science’, which demands that we step outside the objective frame, in order to be an observer, and therefore are excluded from it.
The visual codex is constructed from forms set in place from the earliest experience of perception. It supplies a means to express ‘meaning’ in an image that includes symbolic narratives, as well as evocative elements such as contrast, balance and referential assembly of the elements. I will explain later why I have not included colour as a significant part of the visual language, just for now I will concede only that colour is a component of ‘contrast’. Note that ‘symbolic narratives’ are the story behind a form, which can be derived from cultural mythology, specific religious codes or just be perception effects such as diagonal lines, the horizontal plan, the frame or representative elements.

The last sentence includes a substantial amount of material which I will only explore here in a most cursory sense. The detail belongs to another project altogether.

There are recognised styles of the visual format that are generally recognised genre. Cartoons are the easiest to use as a sample of how all images can contain and convey information. In this style absolutely accurate representations are redundant, with exaggeration of conspicuous parts used for defining a character. This apparently casual attitude to drawing, should not be confused with a lack of skills. The abstractions are an intrinsic component of the message. Where a draughtsperson genuinely lacks skill the result is a highly compromised image but that should not prevent any aspiring creative from the visual codex, because photo manipulation can close this gap.
An example I often use when an opinion about the law is the subject, is what I call ‘the beak’. The long convex, pointed nose, the projecting chin and unmistakable wig, serve as a disrespectful allegory; whatever the figure is doing is the commentary component. Together they are typical of how various visual forms can be combined for specific commentary effect. The same or something like it can be done in several other formats. Net users can find these elements in pictures and can manipulate an image to create what the draughts person’s pencil can produce.
Simple distortion of a humanoid figure can be enhanced by adding ‘extra human’ appendages such as a set of bulls horns to be indicative of the devil or evil. A face that is only the bones of a skull, may elicit the notion of death or dying, and feathery bird like wings can evoke a celestial source.
All of this type of allegory is consciously a part of a visual vocabulary that has regional specifics but is generally a universal resource. Additions are continuously added as creatives invent them and others improve or refine a fresh form.
There are more subtle forms that work in the same way to influence a message but are associated with the visual narrative. A creative deliberately but sometimes unconsciously, sets up elements with fine detail, amongst more abstract, ambiguous representations, which has the effect of focusing the eye on that part of a composition.
Some more ambiguous shapes within the frame ( extents ) of the picture plain, characterise a composition. It is arguable if they originate in the nature of perception or the tradition of ‘painting’. Setting up the elements of a photo or a sketch in a broad based triangle at the centre of a picture plain, prepares the observer to witness a stable and traditional message.
Making the image or composition line up along a diagonal to the frame not only defines tension or stress, but often alludes to mental instability.
High contrast will always evoke drama, while large empty spaces depending on their architecture can represent solitude or vulnerability.
The creative visual communicator can include, juxtapose or balance these attributes to produce entertaining or critical commentary. The imaginative draughtsperson has the greatest spontaneous range because the starting point is ‘a blank sheet’. For those who construct their statements using pictorial ( photographic ) raw material the task is challenging but not different in substance.
In many practical examples the end result is an emotive response. Even the most practised creative relies on spontaneity and the inspiration of finding new allegorical connections to use. I am not certain why the viewer needs so little training to see the connections between this material while it is a task of very significant difficulty for the creative producer to master. How it works or why it works is not as important as to know that it works; and to acknowledge its power for persuasion is unsurpassed.
In this role the visual codex can break down communication road blocks but it is not omnipotent. It may not persuade a murder to become a penitent priest, but it can profoundly move the majority some distance either side of the centre and by incremental change move humanity forward, where nihilism effectively stalls that motion or even drags it backwards.
In a philosophy that allows subjective logic, if that is not an inconsistency, the connection with mimesis and the new idea of meme’s, is a plausible scenario. When it comes to communication between human individuals the imposition of a fabricated pseudoscience is not required because a language exists that is a ‘plastic’ interpretation of reality, and therefore a suitable tool; as well as having a deeply rooted origin in all cultures.
Every human being with eyes to see will have some concrete forms already embedded long before any words can be arranged to express the same beliefs. ‘Forms’ although they are plastic arrangements of neurons in the cerebral matter of a human mind, they are to only reality the brain can believe and the only available building blocks of knowledge. Although every body uses them unconsciously and a few subconsciously, there is every good reason to understand their source because to communicate with such ‘forms’ is to speak in a universal language.

Chapter 11 reinventing Democracy

NB 1. the contents of the chapters posted here, constitute a pro forma for a project to be published under the ISBN 978-0-6483289-9-5. The finished project which has no deadlines or committed time line, is intended as an expansion of the chapters posted on this site. Unless otherwise advised please consider this text as subject to copyright.
NB 2. some content on this page is graphical and is automatically ignored in the format of a ‘post’; it will appear as empty brackets.

As proposed in a previous chapter the internet is hypothetically a useful tool that could be advantageously employed to facilitate a ‘reinvented democracy’. It could be remodeled into a role that has been missing in any ideologically pure method of implementing a democracy. It has the connectivity never before available to practically request individual citizens participation and to securely count that response; a basic necessity for any democratic system to have.
However it is not ‘in pursuit of an ideal democracy’, that will drive the reshaping of the web, it will be the result of a political imperative to secure the intellectual boarders of a countries entrenched establishment. The inevitable reshaping of the net is an unknowable scenario that could take it away from the public, probably on the grounds of ‘security liability’. As it now is used by the ‘social media’ business’s, it is such a liability, but its loss as a potentially commercial product, if it is subject licensing, may save it in some form. Irregardless, one or other force will demand that it change. These are forces that are pretty much those influences that have historically shaped the world in a business orientated democracy, for nearly two centuries.

As the motivation of this project is to propose a different form of democracy, and to achieve it with the advantage of an appropriately functional internet to connect citizens and facilitate debate, it is highly advantage for the net to exist, in a form that is accessible and free of undue censorship. Because this is a ‘meek’ ambition, it is likely to constitute a futile effort in its own right; however it may generate enough interest to start an effort to imagine a medium for an ‘open’ ( conditionally free ) platform for the communication of information and ideas. As a realist, I should not subject my self to such a pointless ambition, but the ‘romantic creator’ in me, cannot let go of the idea that it could be done, and not to advocate for it, is negligent. Advocacy however must clearly understand that ‘meek’ does not mean ‘weak’; and the meek will only inherit the earth if they take it. It is there for the taking, by the numerical superiority of the meek citizenry, the otherwise silent majority. The winners and non-winners, may need to be physically removed and no doubt will not go without a fight. If their intimidation works will be dependant on the cohesion of the silent majority. The ‘meek’ are capable of being a coordinated force if the establishment seeks to subjugate them, deny them sufficient freedoms or prevents the middle class from aspiring to have a family and watch their offspring thrive. Such a set of influences have proven sufficient in past history, to cause the meek to rise up in protest and resistance. It has nearly always involved spilt blood and severe hardship but as inevitable as this is, it might be handled so that this unfortunate scenario is limited.

Firstly however the conditions for revolution need to be promoted and to become truly a popular movement. This is the role of the internet; it is why it must be kept open for use in spreading the messages, organising and enacting. The security interested establishment will want to close this facility because it serves their enemies as well as it serves its citizens. There is much to work out before a compromise is available in this sphere. More significantly I believe that the necessary revolution will not only be inevitable it will be welcomed even facilitated by the establishment. All systems need leadership and the establishment are natural personalities to do the job. However in a democratic system the power is subject to the will and ambitions of the whole community, exercised by compromising their freedom, so all are included. The meek need to be led, but to where they desire to go, not to where some winner wants to exploit them.
How then can we describe the revolution; not just as a label but as a coherent set of policy ambitions and committed procedures to that end.
The initial obstacle to clear is the imprecision of ‘words’ [ rhetoric, jargon, slogans, hyperbole ]; the usual euphuism of academics and politicians ( they actually have nothing else in common). Next we must avoid the fatal flaws that ‘business’ bequeathed to the methodology of governance, which arose out of the close association the uncontrolled money market has to the resources available to government; a nexus that has put us in the quandary we find today’s parliamentary governments in.

On the matter of words. The most difficult topic to address in any language; is an ‘idea’. Earlier chapters canvas the nature of ideas and explain how they are a structure of fundamental beliefs, and learned forms. To discuss ‘governance’ is to debate ideas at a high, mature level, but not totally independent of the original and basic foundations. Values in this area are almost metaphysical and nearly always subjective. Wittgenstein in his attempt to make a new logic, declared that the old philosophers, “were trying to say things that cannot be said.” But just because they cannot be said does not mean they will not be communicated in some other way. In earlier chapters, I suggested that the ‘visual codex’ is an under utilised resource. In a new internet if it is compatible with democratic ideas being expressed, the communication will be multi media; perhaps even crossing the divide that language imposes. Images speak in a purer form than words, written or spoken. I trust that they are used for the power they have to show others what an idea’s contents are. Inevitably words will have some role, but as support or explanation.

What motivated me to get involved? That question causes me some restless nights and troubles my wife who believes the consequent absent mindedness, is early onset Alzheimer disease. I think it is due to the very tangible contempt I see, from the entertainment world media and retail politicians, who flagrantly disrespect sincerity. As a graphic technician I take offence to the derogatory uses ingenuous propagandists put the knowledge of the ‘visual codex’ toward.
It has become for me, an accidental obsession that I am growing more compelled to expound upon, every day, as its potential significance also grows in the community I am a part of.
In an age where the electronic media has removed the sense of touch from our ‘sense resources’ to judge reality; where we experience the world as an annotated stream of digitally reproduced images, that we can only choose to believe or not. We have very few infallible tools to know fact from fiction, and perhaps that satisfies some, even placates a large portion, but does it console the cynical. And we should all be ‘doubters’ of what we are given, but seekers of a reality we can trust.
I will avoid as I mostly try to do, using the word ‘truth’ because it has never been so unreliable as it is today. What is the ‘truth’? Only your god knows, or if not your god what ever else you substitute for it, because we must ‘believe’. If we cannot believe, we cannot ‘care’; and not caring is the ‘nihilistic’ plunge into inevitable extinction.

Please excuse my little diversion into the ‘ontological’. It is my religious upbringing; from which I cannot fully hide. By blaming my parents, that exonerates me from feeling to self conscious from these flights of fantasy. They are however recurring and necessary, else I would not have the courage to keep writing this way.

In explaining what is a straight forward opinion, as expressed in these chapters, I know from my own reading that a convincing argument must be supported by an explanation that relates to the contemporary situation. Therefore I need to describe one last example that an ideal governance may be achievable, in a hypothetical but credible world circumstance.
It may be a convoluted argument, to spend so much detail on how a government must be run, to achieve a functional democracy. I started out talking about the importance of the internet as a tool for the realisation of a democratic system; but it will be thwarted if business and government remain so intimately interdependent. It would take a reasonably long time for a government to ween itself off the bond market as it now exists and can convert that form of finance into a benign tool rather than the ultimate weapon of self destruction, only surpassed by options on the futures market. It will take even longer to work out a mechanism where by the ‘Reserve Bank’ ( Federal Bank ), can operate without getting embroiled in the machinations of the money manipulators. The end game would be a system that eliminated the manipulators but that would be a step equivalent to beheading a king, or nationalising the whole banking enterprise; something requiring either ‘blood in the streets’ or a long process of attrition, just as painful for the system.

In its role of a money manager, a government by its use of bylaws has the imperative that business does not create a fragile structure that is a threat to the state simply because of its vulnerability to change. In its constitutional laws, the state will mandate the acceptable forms of business structures, and a government in its bylaws will administer the compliance. There should be no need for banking and financing in a democratic system, to involve any degree of speculation other than what individuals behind a business are prepared to guarantee, and have the proven resources to cover in the event of failures. Some societies are built almost exclusively on credit from the bottom rungs to the top. The proven regularity of how these systems implode is indelible evidence in the vulnerability of systems built on financial instruments that depend on this economy wide indebtedness.
Dubious practices such as, ‘limited liability, common stock’ as a financial instrument, ‘securitization’, or the equally suicidal ‘collateral debt obligation’ which ensured the fatal crash, seeded by the fraudulent trading of Enron Corporation ( the attempted energy cartel ), should be illegal. No business should be able to present for public consumption, fraudulent books of account. The only ledgers that are private property do not involve money from outside an owners private equity. In this world ‘investors’ are owners and equally liable for the ethical practice of a business they are associated with. Limited liability is a fraudsters entree into misappropriation.
It is in this world, where credit is limited to the borrowers ability to cover the debt obligations, that a democratic financial system is so very different to the one that operates today.
I can already hear the out cry from the conservatives amongst the readers of this sentence!
But it really is not so different to what a lender expects in today’s market place, but relies on a legal system to act as enforcer of a debt obligation; the institutional equivalent to the loan sharks of inner suburbia, unmistakable henchmen in both cases. In a democratic system it is ‘lender beware’, and the constitutional law does not grant the lender any right to pursue the borrower for recompense. There may be bylaws that help prevent serial defaulters from entering further agreements but not to be either incarcerated or punished for the default. A sensible citizen would not risk being prohibited from borrowing if they could avoid it; but there are plenty not so disposed.

So who will finance big projects and ambitious entrepreneurs?
Obviously tax payer money, will be present as it is in today’s world, but it will not be alone. Superannuation funds if they are allowed, and administered as ‘not for profit’ organisations under constitutional laws, are obvious candidates in a democratic system. Thirdly there should be allowance for individuals to contribute to a finance fund under the same conditions that apply to superannuation funds, with the provision that the finance fund is their only business, and administration costs come out of contributions not profits which will be distributed as detailed in chapter 8, for a ‘business’. The government may also offer bonds, just as they exist today but only offered to citizens, not open to international entities unless the government has a constitutional agreement of a common market with that state.

In this financial scene government has no business interfering with business, or advantaging any business by providing bylaws to influence either business conditions or specific assistance to business’s. Elected representatives offending this condition are guilty of a capital offence. In specific circumstances similar to PV cell subsidies, these will go to individuals and although an indirect advantage to the PV industry this will be acceptable but require an ombudsman’s approval of the process, to ensure the constitutional separation business and state.

Democratic governance should not involve the welfare of business but only its citizens. Business by its disciplines and practice has no need of government, does not hold the welfare of citizens as its sole prerogative and adjusts to the free market conditions as they develop and change. In this role they best serve the greater system of money management that is the governments correct responsibility. This primary focus is where business and government diverge.

None of the above precludes business practice in its uncorrupt form, from providing lessons for a ‘service’ organisation to take as an efficient model for government departments. Things that business’s do just as a matter of survival, such as balancing the ledger, factoring in risk and ‘quality assurance’, are elementary functions of any efficient operation. Every government department should be built around these basic elements and with due diligence, report their compliance. On first instinct the fact that a business has the sole objective of maximising returns to its owner/owners which may extend to those supplying credit, contrasts with a government department which does not need to make a profit and owes no obligation to its sources of money. On the contrary, government revenue demands that it be used to achieve the best value for money and it should be constantly audited to ensure this is the outcome. Every minister of the crown is subject to the approval of a corruption protection ombudsman who is nominated by a constitutional process and ministerial decisions as well as spending decisions of the ministers department are only provisional until duly ratified, a process that must be mandatory and open to public scrutiny as well as adhering solely to its constitutional responsibilities.

If most of the above is merely boring to most, as I expect it will be, I apologise; but if I merely said governments must not have anything to do with business it would be reasonable to say, ‘that is unworkable’, unless I take the additional step to hypothetically show how it could be made to happen. It will need fundamental changes and these things do not happen in an instant but they can be made to happen. In modern conservative agenda democratic systems, it is unworkable that business be excluded. It was their purpose to ensure it would be that way. I am saying that it could be worked the other way and democracy would be more readily realised if it was independent of business. If that business scene involved multinationals it is an issue of sovereignty. If not it is simply an issue of ‘conflict of interest’; which is the ‘seed’ of corruption .

If like me you find politics harder to understand than the QED, you have many friends and fellow cynics. It need not be that way, but it suits those that keep it that way. To try and enumerate the possible agenda’s and motives of those who relish the intrigue of the parliament, is too demanding to undertake and equally unrewarding. Only one certainty exists; that is if the ‘meek’ are ‘under informed’, misinformed or not included at all, in any decision, that cannot be a democratic decision.
It is a farce to assume if a politician is elected, what ever they consequently decide, is their democratic right to do. As proven, in reality they actually do things that are counter to their per-election agenda’s. Perhaps, and I agree it is difficult, an enrolled elector could require the ombudsman to decide if this is a ‘breach of integrity’ and remove that representative from the public purse.

We have, just out of our reach, the technology to facilitate a democratic form of governance that would be close to ideologically pure. The distance we have to close is in the area of ‘national security’; it is impossible to make government more interactive until the net is immune to ‘hackers’. Bit coin have appeared to have done it and probably existing security spy’s do not want the rest of the net to go there. However it appears possible. For those who are closet ‘Voltairianists’ ( Voltaire said of British democracy it can only lead to chaos. Government requires an enlightened monarch ) they see business as that ‘enlightened monarch’. Problematically business is not a single entity it is a jostling contest of many individual princes and the mere fact they are plural explains much of the pain that comes out of that scenario.

For those readers that have been so patient to read the previous chapters and come to this last, in expectation of a conclusion, I can only image one form of defence. For lack of a better label I think of it as the ‘meek’ revolution. It is the uprising of the ‘meek’ within an existing democratic system.
It could be a revolution based in the technology that belongs to the last decades. It needs governments to take it back from commercial interests or at least share it. The machinery is available even it is used at present for entertainment only. Security is the most conspicuous ‘elephant in the room’, but it only needs aggressive decisions to be made to resolve that issue. The early exploiters of the web fear ‘security’ because their trade is selling individuals habits they do not know they have revealed. Security systems will threaten that world view.
All of the chapters represent an opinion and if we were to find a road to democracy it will be something completely reinvented by those best placed to implement it.
I seek to encourage individual citizens to envisage how it could be done; or at least join a common movement to ask it to be done. I offer the whole set of chapters, it in the form of a ‘thought experiment’ inspired by the mythological icon of theoretical physics, ‘Albert’ himself.

In this sense of a thought experiment I would like to see a unique change to existing democratic systems. In essence I believe democracy is fatally wounded when one side of the political spectrum wins and the other loses; sometime by a narrow margin, creating a non representative government. This or something like it is how it could be improved. In countries where voting is a right, preferably a mandatory right, the voter will cast their choice as normally done. Ideally many imperfections could be eradicated but that can follow. Seats to distributed to the representatives as normal.
The one change is that there needs to be a constitutional change requiring a government to be formed with a core cabinet made up of a mandatory number of departments. PM, Treasury, Home affairs, ect. to cover the essential functioning of a government. These positions will go to the parties contesting the election based on their electoral numbers. Therefore the Prime minister will go to the party with the most representatives. The party that takes a position will have its tally discounted by 10% and the next post in order of seniority ( constitutionally mandated ) will be filled by the party with the next highest tally. In the case of a very popular party they may qualify again even with a 10% discount. This process will continue until all mandated ministries have an elected minister. The resulting cabinet will reflect the will of the people. Not for one side of politics or other but for a combination that truly reflects their balance of opinion.

That is absurd, my pen trembles even as I write such revolutionary nonsense.
They will never work together, it will just be one big bun fight. However they will have too or else leave the running of the countries to the incumbent public servants until a replacement parliament can be elected.
Don’t worry about, if the known role call of politicians would never agree. They will be replaced by those prepared to do as the will of the people dictates. You the ‘meek’ will vote these individuals into office and the resisters out of office.

How to make that original constitutional change is a bigger challenge. It may take several election cycles to vote in representatives that will bring on the constitutional referendum required to set up the mandated cabinet as a constitutional entity. It can be demanded by some other interventions but I will leave that speculation to another project, and to other persons who have more knowledge, more imagination and the necessary aptitude to see how it could to achieved; I would however be as supportive as I could be.

Who ever thought the ‘meek’ were week and could never threaten an establishment, should learn from the past that it has been done. Not without an undesirable, messy and painful act of violence, which I definitely do not recommend. But that same force can be better directed to overthrown of the status quo, even without guns or bombs, just armed with the irresistible energy of overwhelming numbers given by exerting their democratic right.
This is also where the internet story comes into focus. The necessary surge in popular support for this idea can best be served by an effective and open net. It is not the only way but it is the best and most inclusive so we must protect this endangered tool.

As the western civilisation pendulum retreats from its zenith, in the 19th century, and the alternate phase of its cycle is scarily ominous, we should consider if our inability to protect ourselves from the result of the assault on the environment, will be repeated in our inability to stop business bragging us into a species specific ‘black hole’. I once looked out of my study window at the local birds feuding over a small amount of crust I put out for them, and pitied there unsophisticated plight, the constant personal battle for the means to stay alive and procreate. Today it haunts me that, sooner than later, there will be no one to make the crusts or put them out.
Then again that is just sentimentality. Earth may be a better place to be rid of the plague that our species has come to be. It is inevitable no matter what we do, but it is just too nihilistic to not, at least try to hang in, just a little longer by ‘caring’ enough to change.

introduction to the art of seeing

Having produced paintings, ceramics and various ‘technology derived’ forms of visual images over a period of many years, it was time to construct, for myself, a theoretical definition of what is art and what is its utility value to contemporary society (according to Puggy Booth).

Initially the layout of this attempt to describe what the years of practice and observation have taught, was to place what logically represented the natural beginning, the conventional elements of visual image making, at the beginning. Eventually it moved toward the other end of the project.

Why this became the more logical process evolved from the writing.

The original plan began with the basic elements of painting, being, Line, Form and Colour. Also included here was the concept picked up from the writings of 20th century teachers which include; the Frame and ‘Plastic Art’ (not meaning using polymer materials).

What become evident to me immediately was how much my early ideas have moved away from this traditional concept, but not just because technology has changed everything in every aspect of modern life. I still believe that ‘Line’ is the basic element of all visual perception and that preoccupation has increased in its significance to my mind. I find that now I can achieve an explanation for the creative expressions I am motivated to explore, using discoveries and theories that more commonly guide artificial intelligence investigators.

I don’t do ‘art’. I have no interest in producing attractive images or impressive visual effects. I respect and admire quality in draft-persons work but such skills are peripheral to the purpose of art, which is about contributing to our collective knowledge of the visual Language. Why this is relevant or even necessary, I intend to explore and justify, with the rational analyses, not of an engineer appended to the positivism of the 20th century but with a knowledge of the visual language, enlighten by the best practitioners of the past and the new revelations about ‘seeing’ and ‘believing’.

I have a basic belief which is that reading the visual language is a balance between ‘internal representation’ (the sense data, or the physiology of vision) and ‘external regularities’ (the acquired knowledge used to process the data). This process of learning to understand the image is the definition of intelligence (in the same context that the human, is an intelligent animal).

This ‘process’ is as compulsive as sleeping and eating. Recognising that such knowledge has a plasticity which defines the human species, and that it is daily remoulded, justifies the need for material that does the task. Some may consider this as a romantic notion, which it is, but an aspiration, not less worthy, for creatives that are up to the challenge.

It is inevitable that ‘art for the pure enjoyment of self expression will prosper. This is inevitable and acceptable. Celebratory and colourful images are ubiquitous in any large community. Their role is to decorate and entertain. Occasionally an iconic image emerges from this source but it is not the normal process.

I must accept that the coercive power of the visual image is boring to the ‘Me generation’ and all ‘natural’ bohemians. All artistically inclined persons in their early explorations, experience a desire to reject such restraining ideas. It is after all, the way it is, for these ‘difficult’ personalities, who are attracted to the freedom of the visual language and its apparent lack of rules. The ‘creative’ wants to invent the whole world, not just a part of it; but still be a part of it. In such an ephemeral world the ‘art establishment’ are the arbiters of quality, and commercial agenda’s drive the market.

For the more sombre and introspective creative, which obviously is where my sympathies lay, the challenge is to avoid obscure concepts such as ‘beauty’ and ‘taste’, when describing a piece of creative work. Such terms, amongst other similarly imprecise terms, inevitably become the agents of abuse when questions of quality need to be addressed. Therefore the initial requirement is to invent the meaning of ‘Art’, that can be expressed in measurable values. If this is in some way confrontational with the commercial art market, so much the better.

For me it was the realisation that although the main complexity in an intelligent ‘image’ might well be expressible in terms of the content (information), the content itself does not constitute intelligence. Rather intelligence exists in the context of an ‘image’ that exhibits an intelligent physical presence, created by the use of ‘Line’, ‘Form’ and ‘the Frame’.

In other words, intelligence does not exist as a mathematical abstraction, but is only embodied in the physical manifestation of the work. This might seem either an obvious or a purely philosophical point, but it leads to the development of an analytical vision paradigm where the notion of functional arrangement can be used as a structuring (or deconstructing) element for creating visual systems. The particular statement in this case, is that vision (being a form of intelligence) cannot be considered independent of its embodiment in an image.

Is this still art or is it science? It certainly comes out of the literature of artificial intelligence, but it is perfectly relevant to the visual language. This allegiance may disturb some but it also is a much stronger logic and a sounder support to an empirical system that is not science, but is complimentary to it.

The human being, functions with a large amount of information. Where does this information come from? It cannot come from the genome, which although being large is not large enough. Nor is there any biological connection that can map information from one individual onto another (a data transfer). The obvious source of structured information is the world, loaded over the relatively high-bandwidth channels that are the senses. The process of mapping this information into the individual, specifically is ‘learning’. The primary tool for learning is vision and the visual language.

‘Art’ like many words in many languages has many definitions. In the English language and its equivalent in other languages, ‘Art’ has many discrete and contextually different meanings.

In my corner of the universe the colloquial term ‘Artist’ was a person particularly adept at improvising nonsensical and exaggerated claims (it is sometimes appended by a reference to bovine excrement). This remains for me the unavoidable default definition and is why I prefer to describe my interest as a graphical technician. I smugly consider it more impressive in the age of technology; but I am unique in this choice.

In the commercial world of graphical design and popular culture the more conventional use of the term ‘Artist’ is somebody doing ‘Art’. So what is art?

There are so many possible usages of the word, it is plausible to say that the noun “Art’, has no meaning at all. At least no meaning without it being attached to a more tangible noun such as ‘Sculpture”. Equally obscure the adjective “Art’, is nonsense and its use as a verb is so ambivalent that it defies any definitive interpretation.

The only clear usage of the word ‘Art’, which de-facto recognises the ambiguity of all other meanings, is its use in the phase; “there is an art to doing ‘…….’ (something/anything).

The interpretation of this phase is that there is some undefinable ability required to do something.

Meaning ‘Art’ is some undefinable quality and in being undefinable it cannot be taken to ‘mean’ anything.

Therefore the result of this initial search for the meaning of art is the first axiom. (according to Puggy Booth) which is that:

There is no such thing as ‘Art’, and a person purporting to do ‘Art’, is an ‘Artist’.

where ‘Artist’ is given by my local/original definition above.

Having sorted that out, right at the beginning, the problem still remains that ‘Art’ is still used in the common lexicon, although it has no real meaning. Strangely that may not be a coincidence because not all commentators on this topic have anything ‘real’ to say, or are disposed to being restricted to making rational or quantifiable statements.

In the 21st century, what claims to be art, appears to owe nothing to the traditional formats of the visual image. However this could be a delusion which requires some time and effort to sort through because it is correct that the medium in which the visual language today is expressed is so very different from that which went before. What is less obvious is the question which asks, does that mean the nature of the visual code has also changed?

As a painting practitioner, in the scientific age, it is appropriate that a career be a process of experiments in search of the illusive language of visual perception. Naturally it does change like all languages are modulated by common usage and the natural adding and deleting of words; in our case these are the visual elements. It is therefore justified to explain why the basic elements of painting should to be appreciated, even studied. It might even be the case that they need reinterpreting or even redefining in terms of the new media. Legitimising the search for this understanding, is the realization that most of the traditional elements have a contemporary equivalent. What the earliest experiments in the visual language have to teach us lies in the power of these images it produced, to cultivate an awareness of the ‘self’, a relatively contemporary term, derived from psychoanalysis, but practised for many centuries before dear uncle Freud turned his devious mind to it.

Styles and content, even abstract content, place a work in time and within its influencing factors, but this does not confine all contributions to these limits. There are those works that by some quality were able to transcend such prosaic definitions. This is an absolutely explicable combination of phenomena that devolve into a combination of the physiology and the psychology of the visual experience. The advantage contemporary creatives have over their predecessors in understanding this is that the physiological component is so much better defined and the large influence of the brain function leaves less to be explained by the psychology.

The iconic examples have a tenancy to break out of the common ‘straight jacket’; to have a social reference and a communal acceptance of individuality within a group, occasionally giving birth to a ‘school’ or movement. Although an occasional ‘lone wolf’, defies this pattern.

There is no doubt that the ‘meaning of art’, is problematic; especially if we remain attached to the use of ambiguous words. An equivalent ambiguous question is “What is the meaning of life?” This does not stop us from doing ‘life’; neither should ambiguity with handling ‘meaning’, stop us from doing ‘Art’. Already this is a complex concept which invites us to wallow in the ambiguity; or embark on the experimental researchers path, to a more accessible understanding.

This however brings a whole constellation of agenda’s and bias into the mix. It is a problematic zone where ‘the more you pay the more its worth’ world, comes into contrast with the ‘Arty, crafty set’. On another plane, the ‘autocracy of the museum culture’ is juxtaposed with the small band of independent technicians, the ubiquitous, ‘struggling creative spirit’, persevering in unrecognised oblivion. God bless the dedicated bohemian, what would we do without them.

If the term ‘Art’ is too abstruse, what description then can be used to represent the visual language?

‘Plastic art’ or ‘visual art’ have been used at various times but clinging to the ambiguous tag of ‘Art’, invariably compromises it. A derivation may sum up our ambition to replace ambiguity with a logical construct. The term ‘Plastic perception’ neatly encompasses the clear distinction between a mechanical reproduction of ‘reality’, with the necessary abstraction that a ‘human’ produced image engenders. The controversy between this pure condition and the ‘human driving the machine’ compromise can go unchallenged at this enumerate stage, but it can’t be ignored, just deferred.

As the cave painters of antiquity realised, the ‘human’ component is always the subject of a visual image, even when the apparent relationship with the content is more or less esoteric.

Although separated by the distance of time from the true immediate meaning of the earliest works of art that we have access to, their arcane references are not necessary to appreciating the meaning in the visual language. Scholars can not resist trying to decipher the recondite symbols embedded in the image; otherwise the image gives the contemporary observer a clear idea of what it meant to be human in the stone age.

What then is the ‘human component’?

‘Cave painters’ and ‘rock painters’ invariably incorporated human beings into their images; sometimes symbolically, sometimes as simple stick figures. Although the drama of most of these images appears to focus on animal forms, the human representative forms are present; as participants or observers. The fundamental significance of the object-observer relationship is a startling revelation that modern investigation has give great substance to.

In antiquity the graphic technicians discovered the ‘line’, or more accurately the ‘outline’. The images were strictly 2 dimensional but (in many cases) very carefully delineated forms (except when representing human forms). Detail inside the outlined form is minimal and ‘fill’ (or colouring in) was mostly ignored. What these early exponents were discovering is that, what the mind sees in the shape of the line, is the primary effect in any image. In their case it was the only effect they sort.

Consequently it has not lost its pre-eminence in the material phenomena of perception.

The mind considers the visual data from the eye, searching for hard edges it can construct as the line. Using this line it imposes a construction, or an interpretation, and from a catalogue of learned experience attributes what we can loosing say is the meaning.

Modern observers are denied the nature of the ancients experiences so can only see a shadow of that meaning.

As a signature, the creator occasionally included an image of their own hand, but they also left an imprint by the style and use of materials that spoke of the ‘human creative process’.

The minds interpretation of the abstract visual data coming from the eye was invariably influenced by the hand of the creator. It joined the creator and the observer in a mutual bond.

Such a trace has lingered in all works created up until the modern age of technological reproduction. It is what has given the ‘visual image its legitimacy’, and remains an intrinsic component of the ‘visual language’. It is seen in the brush strokes, the pencil lines and the texture of paint applied with the passion and energy that comes from self belief. This is not the ego of the creator but is the common ‘self belief’ of a social group. Everything else, and there is much more, is subservient to the unmissable hand of the creator (no religious pun intended) .

This brings us to the second axiom (according to Puggy Booth).

“The visual Language is expressed in graphical forms, which uniquely, must always include the ‘Human’ component, in its execution and in its content (although ‘content’ is a complex quality, which does not necessarily mean recognisable forms).”

In defiance of the ‘pragmatic’ world, which reduces humanity to the most fundamental levels of self interest, the ‘awareness of self’ in the visual language, is a common ‘self’. It manifests what we have in common; the gift of vision and the sensation of being enlightened and ennobled by the visual experience. You don’t get that in any political diatribe or religious ranting.

A world moderated by the visual language may not save every soul but it could avoid the worst excesses of a lack of communication between conflicted individuals, feuding nations, religious creeds and political bias.

It is worth giving it some space in our cluttered minds. The free spirits that trudge through the psychologically, ‘danger infested ‘swamps of the visual language, on occasions have something pertinent to express that has no alternative way of being shared. Occasionally this has moved individuals, tribes or nations to an accommodation with the rest of humanity; a facility well worthy of dedication from those human beings that see every soul on our planet as a partner in our individual dreams and desires.

Of course painting is not the only art, but the power of the visual image is that it is fundamentally a pure medium. Words are cheap, and ambiguous because they are primarily dependant on culturally biased interpretations. The world is confusing enough without the obscurity of words.

The visual language has an honesty that allows it to say what could not be said in words, even by the few brave enough to try. Such power does not come without an onerous obligation. In the words of the sage: the keys to heaven are also the keys to hell.

It may be a romantic notion but it is worth exploring; the idea that the visual image may reach across the socio-political divide, across the socio-economic chasm, and draw different peoples together. After all there is more that every human being has in common, than there is which divides us. The visual language is the only uncorrupted form of communication to explore these possibilities and it should neither be exploited or despoiled by vested interests.

In the past blatant propagandists have recruited it for their agenda’s.

Throughout history the means of sharing the visual language has been monopolised by the establishment. That still continues but the technology of ‘individual to individual’ communication is threatening to erode that inevitably; or at least weaken its tyrannical control.

Every visual artist is a moral campaigner because they communicate in a privileged spatial area of human cognition, and must appreciate the responsibility to utilise the medium appropriately. Freedom of expression in the visual language is no less a compromise than all of our treasured freedoms, on all sides of the political, religious and economic scenarios all over our planet.

Good artists must attempt to share the medico’s creed; do no harm.

In a similar way to which ‘bullies’, exploit the mass media; trivial and meaningless images can decorate the formal galleries and populate public spaces with their overwhelming mediocrity. Nothing can change that condition as long as those motivated to do it have the time and energy to continue. Alarmingly the depth of this pool of mediocrity is boundless and by its shear volume will be the dominate force in the free media.

This is the enigma of the visual language, it demands to be free; and by this freedom it must be inclusive and available. With this accessibility, it falls into a deluge of aimless expression. Every soul on the planet wants to be heard or seen. All forms of art immediately fail the basic test of authenticity when they deny this; it is a conundrum.

However for the observer all this visual pollution reduces the visual language to ‘white noise’ with the deluge of eye candy and advertising spam along with the additional offence of adolescent pollution in the form of vandalism and obscenity covering any available public space. The observer is neutered by a ‘denial of service’ attack on the visual senses.

No measure of excellence/quality can evolve because where the rare ‘worthy’ works emerge they are as rapidly overwhelmed by the next wave of visual spam.

No evaluation of relevance is possible because there are no sources of authoritative opinion.

In the mid 20th century this unresolvable contradiction lead commentators to resort to a ‘nihilist’ interpretation of the possibilities of all creative activities. Those negative commentators have not been silenced, but their view is framed in a pragmatic world of values that can only be expressed in material form.

It is the creatives goal to reveal the empirical reality that the image code embraces.

It must be devoid of ambiguous definitions, it must embrace the integrity of a democratic creative environment.

the art of seeing – Mens rea

Mens rea

The question is not, ‘what is the meaning’ of art, but ‘what is its utility to modern society’?

Most specifically for this exercise, the art in focus is the ‘visual image’. In this case it has several conspicuous uses. Firstly it is an uncontrolled market place like ‘drugs’, and perhaps the new cyber- currencies; and it is supposedly legal. Therefore the accountancy profession finds it very useful as an apparatus for holding/quarantining capital. Additionally it is the most effective carrier of subliminal information; a self evident tool for any who have something to sell, either ideas, information or products. ( see also: a personal voyage, over the edge of a flat earth – ‘mimetics’ )

Is this all there is to contemporary image making?

Is its charmingly entertaining effects, justified as an contribution to social intercourse or are these bucolic assets more of a distractor than a contribution to understanding our very complex reality? It appears incontrovertible that the role of the image in the learning process, which is such an essential part of acquiring ‘intelligence’, has been commandeered by ‘forces, unspecified’. Whether this can be construed as a malignant energy or just the effects of negligence, is a matter of personal disposition. This unacceptable situation may be convenient for those first 2 examples of the usage of ‘images’, but the cost is that we have lost access to the practice of enlightenment, through the visual language, which has played such a pivotal role in the evolution of our species.

Even prior to birth, the brain soaks up every nuance of experience it can access. Learning is an absolutely essential biological function and it only ceases at the point of death. It is however an attribute that can be hidden as an inconspicuous autonomous activity that is merely subconscious.

Some insightful revelations can be noted from recent work on robotics. This work has shown that, “rather than being fixed in configuration, the functional anatomy of the cortex displays activity-dependant plasticity on a time scale sufficiently short to play a role in perception, …”

For the creative this has subtle implications, especially when considered with other more revealing research. There exists compelling evidence that the brain adopts a viewer-centred, rather than an object-centred approach to visual representation.

What does this mean for the mere creative? It means everything. It illuminates the way the creative can respond to the technology available to them. It gives the most convincing evidence that the observer is the essential element in the experience.

What follows in the substance of this essay is supporting arguments and experimental results that define the democracy of ‘plastic perception’. The creative can expand their concept with these arguments but the real target is the ordinary observer. It is the art consumer that is being usurped by the autocracy of gallery art. My cry is to burn down these hypocritical institutions of false art. Give the public galleries back to the citizens. Our governments should not accept “the more you pay, the more its worth” value for any legal accounting function. The realistic commercial value of any work of art is its cost of manufacture, which is the same as any commercial product. Such a radical change would instantly restore the visual image to its moral role of enlightenment and return its authentic value to the society that produces it; if not to all of humankind.

The role of the visual image begins the instant the new born opens its eyes. The child needs to learn to see before it learns what it is seeing. In this process the visual language that an individual carries for the rest of their life is an extension of this ubiquitous process. Every individual fortunate to possess the use of their visual senses, has this unique tool embedded in their physiology. That it is mostly repressed, is a consequence of the ‘fear of freedom’ an individual experienced when confronted by the pressures of cultural conformity.

Occasionally this dangerous animal escapes, becoming manifest in the form of an iconic image.

It is released by the effect of either an inadvertent, or intentional act by one of the practitioners of the ‘visual language’. Sometimes the endgame is revolutionary because any extension of reality can have unexpected results. All practitioners in the ‘visual language’ need to appreciate what is at stake.

Understanding reality is at stake.

Information is at stake. Every individual is in danger of being drowned in a tsunami of misrepresentation and alternative realities.

Democracy is at stake. When we lack the information to discriminate between real and fabricated information, we become disenfranchised of our freedoms. Depending on the social and political environment we are born into, this opinion can be read as anarchy by some or free-will by others.

I confess to the crime of believing the visual language is the potential instrument that ‘technology age humanity’ has, to recover the lost practice of the iconic image. To the creative it is a call to get out there and cover the walls, fill the rooms and saturate the technology with images for the pure sake of creating images. Out of the chaos the iconic will emerge if the results are open to public scrutiny.

It is a revolution and this ‘Mens rea’ is a call to arms.

Out of the chaos and in spite of the art establishment, iconic images will emerge and be owned by the whole of the society. Creative’s and all around them, must fight this fear of freedom. Enlightenment is the reward.

Mens rea is a Latin phrase, meaning “guilty mind”. This is the mental element of an act. A guilty mind means an intention to commit some act. Intention is separate from a person’s motive.

What ever motive Puggy Booth had in beginning this diatribe, the intent is unequivocal; the graphic image belongs to humanity, it must be repossessed from the usurpers who have commandeered it.

A meaningful image is like a good poem. To quote Dylan Thomas (substituting image for poem); ”…it is a contribution to reality”. To paraphrase Thomas; [The world will never be the same once an iconic image has been added to it. An iconic image helps to change the shape of the universe, helps to extend everyone’s knowledge of ourselves and the world around all of us.]

A graphic image is stolen, if it becomes private property. When an iconic image becomes property it dies (is killed/murdered). When access to the public is denied or restricted, it is an act of piracy.

Who should be guilty in this state of affairs is for some higher court to decide. And let the offenders be damned.

The act of commodifying the ‘image’, is treason toward the whole body of humanity. Any culture, which includes images, automatically makes them public property. Elites may try to create a culture that they may take ownership of, but the culture of a society is public property and cannot be owned, bought or sold; unless a crime against that society is perpetrated.

An elite’s efforts to commodify the ‘image’ is rape or at least prostitution.

This does not imply that the creative is not entitled to claim ownership of the image.

In conclusion Puggy Booth does not only admit guilt to the crime as stated, but also must concede to the sin of pride without which no individual would dare to indulge in the search for enlightenment in the visual manifestation of their creation. The creative must be driven to achieve a meaningful contribution to this environment. But to indulge in the practice of any creative endeavour without a moral obligation to protect the integrity of the visual language is heresy.

It is a moral issue but a secular morality, which does not preclude any other religious beliefs, it is about the perception of reality, not the concept of god.

Although the ‘philosophy of art’ may appear a triviality in the world of violence, famine, flood and other catastrophes, it is not impossible that it may open a discussion that is not available to a troubled world, preoccupied with aggressively protecting their vested interests.

Man (&Woman) the barricades

There are speakers, presenting, around the world, the notion that there is a revolution brewing, in all democratic countries. I suspect that they are seeing one side of the great surge of uncertainty and disillusionment that exists now in most countries that profess to be a ‘free’ western style government.

The big names doing this circuit are mostly right biased pontificators, proclaiming the virtues of nationalism, and tariff protected capitalism.

They may or may not be reacting to the real undercurrent of dissatisfaction that ordinary citizens of these western democracies are experiencing, where the benefits they expect and desire are being pushed relentlessly away from their reach.

The advent of the ‘great disrupter’ in the USA, has alerted not only the citizens of that country, of the danger of complacency, and being negligent of their democratic responsibility. The whole western world has realised that their freedom is a tenuous right that must be actively and zealously preserved by direct involvement.

At all times the forces that would usurp the individual rights of citizens, are sniping at the edges of the freedoms that were hard fought for, and so easily lost.

The devils are from both the right and the left.

The right are the national forces of the wealthy and powerful who believe their prosperity is symbolic of the health of the nation.

The left are the disenfranchised who have only belligerence and violence to express their malevolence to the system oppressing them.

Not so obvious is the alternative revolution. The coalescence of the ordinary citizen into a cohesive force that passes all issues through a filter of tolerance is idealist. The realisation that individuals can be different within a social order that is equally available to those who can contribute without denying others their right to also do the same, is plausible.

Although the revolution of the centre is by definition the most potentially powerful, representing the greater number of individuals, it is also the more difficult to define.

It is problematic to gather followers for a movement that is described by what it does not stand for.

There are immediately obvious obstacles to the confederation of the centre which are manifest in the political systems existing in each particular constituency and in the control of the media that exists in all its forms. It is in these areas that the revolution needs to be achieved. Embedded in our present flawed methods of distributing information and expressing opinions, is commercially influenced treatment of information and even government control of publicly financed media.

The enemy of democracy is autocracy and political polarisation, which is so much written into the DNA of politicians and bureaucrats. Politicians should represent their constituents not their party.

Public policy needs to be analysed by a non governmental authority who should present, in a public forum, an impartial assessment of its appropriateness and impact on the status quo; before being presented to a parliament for voting on and for the constituents to appreciate (understand).

This idea alone is more of a revolution than what has happened throughout history and will be a continual ‘work in progress’. It may not be the classic definition of a revolution but it represents something more challenging to implement and even more problematic to convince the populace to endorse.

A party of independents is the natural first step in what may be just ‘too optimistic’ to hope for.

It will be a start and may lead to somewhere as yet conceivable.

See: NoneOfTheAbove4AU

The art of seeing!

The experience of visual images (looking at pictures) is not just an indulgence of the indolent and snobbish, although it can be that for the self possessed followers of fashion or the gallery squatters.

Such elitist groups of so-called connoisseurs, form an opinionated and exclusive clutch that anoints chosen creative’s that suit their agendas on the pretext that this minority has some indefinable qualification to discern quality in creative effect. However the image code cannot be so easily corralled. It is a gift of nature that is endowed on all individuals. That only a small number are motivated to express themselves in this medium is due to the ambivalence of the majority of society and the effective usurping of image spaces by the gallery squatters and commercial pressure for advertising space.

The reality is that for ‘sighted persons’ the visual experience is actually an everyday exercise, which is mostly unconscious and automatic, to the extent that most individuals are unaware of the essential processes that are being utilised. This was brought into focus when engineering academics turned from image reproduction to image analysis.

In this pragmatic world practitioners were able to capture animated images and convert these to electronic data and pass that information to another location. Also achieved is reconstituting the image data by reverse engineering the signal and displaying the initial image on a graphic device.

When engineers needed to give machines the gift of sight this image transfer model [ camera → data → monitor ], that previous was taken as a close analogy to the [ eye → optic nerve → brain ] format, immediately proved to be totally flawed.

In the course of investigating the problems of finding a ‘machine → image’ interface, what it means ‘to see’, became a complex rethink of what constitutes the image.

The resulting methods and the resolution of systematic problems have a fascinating and instructive set of lessons for the creative that cares to consider the implications and try to understand what it means for the image code.

These ‘learnings’, to use a clumsy and ugly, contemporary colloquialism, not only opens new avenues to creative images they indicate why images have been and will continue to be the most influential of all human experiences.

The academic based inquiry is curious to find the mechanism whereby things are perceived. Therefore the method as well as the assumptions about the nature of experience are those of logical positivism, which hold that the only kind of empirical knowledge is scientific; a dominant influence in philosophy since the last half of the 20th century. The creative armed with the image code has an alternative rational definition of the empirical evidence which describes the event of seeing from an internal reality. The difference is to distinguish between what can be said about an work and what the work really represents. For the positivist this is a nonsense, they are content with an ‘outer meaning’, which can be measured.

The image code supports another kind of meaning, purely sensory and non rational, undefinable in commutable terms but more real than the abstraction of the scientific method. The source of this sensory reality is the biological process of the [ eye → optic nerve → brain ] connection and the learned process of ‘seeing’, which is innately learned from first light for the individual.