PLATFORMULATIONS

Pro-acting as a free agent, the Individual operates free-erratically, errantly, and independently, yet exists in a collaborative framework, whether intentionally or unintentionally. Validated by Postmodernism’s assertion of the pluralistic hyperindividuated self as All-Important, the Individual indulges caprice, whim, narcissism, wanton hendonism, to its own sugar-fueled Implosion. Moving rapidly beyond Post- to Trans-, I assert myself as an Individual operating to great advantage within overlapping, navigable, operable, malleable, and propagative structural frameworks constructed of the fragments of Epic Oneness Modernism and HyperMe Postmodernism, enabled by simultaneous emergence of collective effort, desire, and will, elucidated by the emergent phenomena of Open Source.

Opposed to all prior social models, Open Source culture allows one to cull from a collective consciousness as frequently and nearly as fast as one can reference their own experience (perhaps faster), and infinitely more expeditiously than one might possibly experience the collective’s myriad experiences personally. Referencing the benefits of open source culture more broadly, I and multiplicitous others operate as an augmented, concurrent We. Moving beyond data sharing, We propose the Open Sourcing of Education, Architecture, Art, Religion, Ontology. Looking like the Situationist’s wildest dreams of free play, Open Source operates as a platform for institutionally extraneous transbelief, which is realized as transnational, transhistorical, and integral pursuit formulated as an overarching, holistic, perpetually adaptive, real-time rendering, self-centering model of the self, in which the self has both free agency and demonstrable frameworks of operable relationships; in which the self is both a foci and a tangential node to infinitely varied co-extant foci. Emerging strategies of combinative digital media allow synthesis of transcendent experience, a networked ecstasy, a state both momentarily psychedelic and trans-spiritual. Aware of the possibilities of multi-level, multilateral collaboration for achieving a greater whole, We pursue development and utilization of emergent technologies while simultaneously creating new fusions of existing disciplines for a trans-genre sensorial experience, dissolving boundary demarcations as a means to provide the purest achievable realization of a given idea without paradigmatic restrictions, using the techniques of architecture, art, computer and social programming, religion, and social practice, in order to symbiotically syncretize an experience not possible nor recognized within the specified limits of any of those disciplines, thereby moving beyond cultivating merely either metaphor or utility, into actualizing new experiential phenomena for its own purpose, that of filling a receptive void.

Re-interpreting the utopianism of early digital visualizations into physical space by combining existing physical with emergent digital technologies, the human body is finally beginning to integrate into both the digital network and designed physical space in a way previously portrayed as futurist, idealist, and fantastical. In this iteration, however, a realm of possibility and agency begins to extend real limbs into the physical world, rather than errant humans escaping, displaced, into the digital realm. Combining the “epic oneness” meta-narrative of Modernism with the pluralism of Post-Modernism into a symbiosis sustained by collaboration, We attempt to integrate the utopianism of the former with the individualism of the latter, in order to overcome oppressive and fascistic tendencies by allowing for the idiosyncrasy, will, and desire of the Individual within the collective entity. Beyond being non-denominational to being non-religious, beyond being merely formally spiritual to an emergent state of immediate transconsciousness, We interrogate our relationship to the Ideal. By utilizing ideal and idealized forms, e.g. sacred geometry, utopianism, futurism, symmetry, We investigate the demonstrable prevalence of universals, inherent problematics and discrepancies within those Ideals, and contortionist philosophical matrices a la Le Corbusier. Moving forward, We intend to, and do, distort rational systems via human presence, exerting forces via idiosyncracies which tessellate imposed matrices advantageously for the individual contained therein.

Specifically, We intentionally mediate our investigation through purposes and techniques of art, combined with utilitarian aims and phenomenological strategies of architecture and collaborative possibilities of social practice, augmented by interactive media, as a means of simultaneously promoting philosophical/conceptual/ontological contemplation of the social, ideological, and technological aspects of the work, as well as intending to all possible degrees to blur the boundaries of Art --expanding, contorting, and blending the Paradigm with others in a way heretofore unseen and impossible. We use appropriate paradigms when they are useful; when presented with an opportunity in a given realm, the work is re-configured to most succinctly agitate the parameters of that paradigm. At a given moment, the output of our research may manifest itself as art qua Art, pedagogy as beta testing for collaborative/socially interactive experiments, urban sphere performance spectacle, theoretical writing, interactive multi-media programming, online community cultivation, open collaborative events in real time and space, esoteric subculture injections, all specifically and intentionally aestheticized. We utilize stylisms, formalisms, acute aestheticization as an intriguing and appealing entry route into the work. Subtly and overtly contorting understood formalisms, We create work that is impeccably stylized and surfaced, enabling visual intrigue and a referential mystique (explicitly, in this case, aesthetics of various utopianisms and science fiction, combined with formal tropes of institutionalized religion) that draws the viewer to a place where they are able to experience the work. Simultaneously, the use of the heavy-handedness, exaggerated camp, and hopeless stylisms of said references allow the work to be taken both seriously and parodically, subverting hardline utopian and fundamentalist readings of the work. However, these aestheticizations are easily ejected and replaced when prohibitive or not useful.

More specifically, the current content being subjected to this model may be stated thus: an investigation into the social choreography employed by institutions of belief through organized formal techniques in architecture, graphic design, and data transmission, the intersection and contradictions of said techniques with those employed by science fiction and utopias, how these shift when applied to contemporary techniques and in contemporary venues, and finally, how these techniques shift and enable new social relationships when they are divested of religious or fascistic imperatives.

Omni-Point Perspective: Interactive Pedagogy


Input and output relate via a recursive feedback loop, sophisticating and refining the data set via a series of filters, in which both student and teacher are both input source and output media; in which both student and teacher are both student and teacher. The Professor, extant safely as a validated power symbol within the protectorate of academia, must move to subvert that seat, absolving the bureaucracy of the arts institution via participation, action, collaboration, exposure. The emergent role of the educator/artist is as an aggregator of data, a facilitator of actions and events, a search engine with advance search and infinitely refinable filter options. The student/teacher submits variegated output; it is then the function and responsibility of the teacher/student to assist in sophisticating that data via a set of increasingly limiting filters enabled by objectivity, experience, externality. This data set is, in turn, resubmitted to the rigors of the process in the reverse direction, ad infinitum, mapping the identities of both users in the process.

We propose to develop a platform for the Open Sourcing of education. Multiple simultaneous users R+D an open framework interface, and submit their chunks of code to the group. The framework is then experimented with, tested, reconfigured, re-published, and distributed under public license, available to the larger, theoretically universal user set to further manipulate, R+D, and resubmit. The Hive Mind grows exponentially, and the Group propels itself far afield of the possibilities of the separate pursuits of unrelated individuals. Subverting the market basis of contemporary culture, ideas are developed for the sake of progress, rather than capital, at least theoretically. Collaboration is of the highest utility. Concurrent with the institutional paradigm of ART, a new alternative emerges: that of the DIY, the Second City, the localized life collective. We aim to subsume and merge these co-extant models, darting sidelong through the Exit at opportune moments, Nationally Accrediting subcultural esotericism and refusal as institutionally valid, and vice versa.

Pursuing a practice informed of the successes and failure of modernism and post-modernism, we edit from both to construct a new paradigm: practice qua Practice, life as “making”, active living as medium of choice. As the boundaries between art/science/ habit/sustenance/belief dissolve into an inclusive holistic pursuit, making sustains itself as an enduring life practice, more seamlessly integrated into the process of surviving physically, psychologically, spiritually, and socially. We absolve the white cube demarcation, moving towards a more authentically social practice. The current climate of our particular exclusive sub-culture subsumes inclusivity, awards Bonus Points for Benevolence. Combining the meta-narrating impetus of Modernism with Post-Modernism’s assertion of the hyper-individualized, the new paradigm re-attempts to provide the ideal for everyman, while acknowledging desire, whim, caprice, humanism, subjectivity, locality, individualism. We acknowledge in this filtering and reconstructive process the failures of modernism and post-modernism as tendential towards fascism and wanton hedonism, respectively.

It is assumed that the primary motive for output is a responsibility to a given concept’s highest possible realization, rather than a responsibility to a given media. It is assumed likewise that the highest possible conceptual realization is authentication of oneself, of internal imperatives to action, of achieving the highest possible iteration of oneself, rather than capitulating to a conceived paradigm, whether it be historical, academic, industrial, commercial, or conceptual. It is the duty of those within a model to tesselate and distort that paradigm according to the development of its new needs and desires.

Finally, the institution of academia preemptively constructs a susceptive social system, ripe for use as a beta testing environment for conceptual frameworks. The “classroom” is an extension of my “studio” practice, both pursuits being inseparable from the larger framework of a holistic life practice, in which all actions are considered viable within an ontological holarchy, actively opposed to hierarchization of actions, intents, output.

Epilogue: I believe one should severely limit the use of the phrase “I believe” when writing personal statements. I believe that as an educator my role is multiplicitous: collaborator, critic, advisor, student, facilitator, filter, input, output. I believe that my primary role is as a learner, and that only as an active pursuer of knowledge will I succeed as a teacher. With the benefit of observations from 10 years practicing in this field, I believe that a new, living, self-modeling, reflexive, and adapting paradigm is emerging for both the field as a whole, and for the role of the artist. I believe that the term artist is archaic and exceedingly useless. I believe that the artist’s role emerges as facilitator, filter, social collaborator, open framework architect, data collector, researcher and developer, inclusive lifestyle architect. I believe that for a pursuit to remain viable, it must adapt and adopt from the philosophy of emerging programming technologies as open source, universally editable and contributable information networks. I believe that for contemporaneous systems to be resilient, they must be interactive, render in real-time, respond to forces structurally via tesselation and triangulation, shifting to the vantage point of the player as a first person shooter video game engine does. I believe that for a pursuit to have longevity with the maker, it must engage on all levels of interest, from sustenance to whim.

[This essay is posted to a group of users on Google documents, a future revision based on comments and changes made by the group will be posted here.]

CONVERSION EMERGENCE//CONVERGENT IMMERSION

:: ”an interpretive method, originally used to relate specific entities or events to the absolute idea, in which some assertible proposition (thesis) is necessarily opposed by an equally assertible and apparently contradictory proposition (antithesis), the mutual contradiction being reconciled on a higher level of truth by a third proposition (synthesis).”

The Line attempts to define certainty uncertainly in far too crepuscular a domain to succeed; it is more oft noticed only marginally, in passing through the interpolar mists. The White abrades not The Black, the transition traversing rather a finely sophisticated graydient. Geometrically, we move to substitute a Point in place of the Line oppressively demarcating the boundary artificially separating the entirety of the holosphere into inaccurate and opposed hemispheres. The historical imperative disintegrating Unity into misperception of a Dualism of the One vs. The Other enables and activates (de)valuations of multiple co-extant sympathetic modes into counterfactual hierarchies, as a method of institutional control.

::In the Linear Model, whose ubiquity is preponderated only by its tyranny, the sole method of travel available lies along a prescribed bilateral vector (bilateral in the sense that while possible, to reverse is to regress/devolve), which is biaxial at best, and rarely. Such a narrow avenue of evolution can exclusively exist in commensurately fascistic (non)spatial conceptualization of a vertically valuated, hierarchized 2D plane of metaphysical existence moving above the horizon towards the “Good”, mirrored below the horizon regressing exponentially towards the “Evil”, where all progress is depicted in a straight line moving upwards, all beings prescriptively attempting travel to enlightenment via the same artery simultaneously.

It has been formerly proposed that the accepted model of progress as a linear sequence of increments may be replaced by the Annular Model: a series of concentric circles emanating from the local centroid. The individual may circumnavigate the present orbit, exiting to the next outlying orbit at the personally most advantageous point, be the exit three 172º cycles from the entrance point, or be the exit and entrance one. This model beneficially introduces multi-axial possibility, and succeeds in subverting the vertical hierarchy; the plane of travel may be oriented in any direction (although primarily: all beings must travel in the same plane, albeit along divergent tangents), and the system remains whole and without emergent contradictions--as opposed to the Linear Model, which utterly crumbles with the introduction of any assumption other than Up=Good. However, the Annular Model remains (two) dimensionally prohibitive in a rather Flatlander sense.

Conjure visually a sphere: consider in three dimensions—first the surface area, then the entirety of space contained within that sphere, including, but not limited to, a sequentially logical scalar reduction series of the sphere around its center point. Now consider the concentrically nested spheres intersected simultaneously by an infinitely extended plane, set at any angle but intersecting the sphere’s center point. Described graphically by this intersection is the Annular Model. Consider what immense inhabitable volume is omitted by this model!

Thus the (con)temporarily “final” model: a series of inclusive concentric spheres nested about a shared centroid. Each sphere includes and is supported by all inner spheres. Conversely, inner spheres are independent of levels outside them. The solar system nor atoms can exist without neutrons, protons, electrons; protons, however, exist free of worry about the activity of planets. Imposed hierarchies* are absolved of duty and supplanted by multidimensional Holarchies. Nothing is higher or lower, All includes and is propagated by All that came before it. Each “higher” level of existence (consciousness, biological development) depends on, and originated in, the base levels of material existence. Thus the Noosphere “transcends and includes” Gaia, heaven--the basest earth.

The OmniPoint System maps harmonically. The unit One, the radius of the innermost sphere, becomes a reference integer for the entire holistic system relationship, e.g. two initial radii from the OmniPoint is the radius of the second sphere, three intial radii from the OmniPoint is the radius of the third sphere, and so on. Via triangulation, one might find that two points on the surface of a certain sphere are the same distance from each other as from the originating centroid; the centroid of the new triangle may be used to propagate a new OmniPoint System. The set of points at the intersection of the two systems will itself describe an exegesis of the originating system, a tertiary OmniPoint System, containing a universal harmonic set of relationships based on the One unit. Thus the system is a 3-dimensional matrix of points in relationships based upon a universal radial increment, in which each point is a potential OmniPoint. Each point may find its relationship to surrounding points in exactly the same manner as to the OmniPoint Centroid. This simultaneity of multiplicitous origination (or vantage) points begins to point towards the temporal, or Fourth, dimension.

We further propose a contingent polar model: White←→Graydient←→Black.
The Linear Model promotes a hierarchy of white vs. black, where white=good//black=evil, in which White is the supreme pursuit and end. Consider again the sphere, superimpose visually the OmniPoint System onto the Linear Model, in which the Line goes through the centroid. At the unattainable infinite reaches of the opposite ends of the Line lie the opposing concepts (White/Black, Good/Bad). Again, there is only one route of travel possible between them. Now consider again the sphere intersected by that line, at the point of intersection may be placed poles. An immense surface area that may be traversed at will, in any direction, between White and Black—an infinite set of points making a network between the two. Thereby one may need to traverse any and all points from white to black before making the jump to the next sphere; indeed, all spheres include the entirety of The White, the Graydient, and The Black.

In order to move forward, we must learn to exist in, use, be used by, both realms, and more truly, the vast expanse of Graydient between. To refute and and ignore the Black as having utility is not only not possible, but very possibly may prohibit travel to outlying regions. Of particular and problematic interest to us is catharsis—of accepting, channelling, controlling, utilizing one's dark power. Accepting and integrating the Black as the half of What Is that it is, one remains aware of it, keeps it within reach and within control. Existing within it, to understand and use it, rather than attempting to put it in a secret box, out of which it will explode. SImlar to Wilhelm Reich's view of the results of sexual repression, repression of the blacker half of the spheres, or at worst, the Blackness of the Earth Nexus (in which the innermost sphere of the Omnipoint System is Black, the outermost, White, which thereby transcends and includes the Black), inevitably gives rise to perversions. Sexual desire is healthy and natural and good, but to view it as unhealthy, makes it as such, causes it to feel as such--likewise with the darker side of spirituality. But where is the line, over which acceptance and understanding becomes absorption and corruption? To take the experience of Umberto Eco's Belbo and Casaubon as exemplar, the line is much too hazy to be used as a warning marker. It is more oft noticed only marginally, in passing. White does not slam up against Black, traversing rather a finely sophisticated gradient.


*an etymological note on the word hierarchy: “c.1343, from O.Fr. ierarchie, from M.L. hierarchia "ranked division of angels" (in the system of Dionysius the Areopagite), from Gk. hierarchia "rule of a high priest," from hierarches "high priest, leader of sacred rites," from ta hiera "the sacred rites" (neut. pl. of hieros "sacred") + archein "to lead, rule." Sense of "ranked organization of persons or things" first recorded 1619, initially of clergy, probably infl. by higher.” From http://www.etymonline.com/

QUESTIONS::

Fully Integrated Concentric Holistic Design Initiatives for
Meta-Ontological Research, as Opposed to Extraneously
Promulgated Pragmatic Directives.:

o Immersive psychophysical environment and habitat design
o Personal interactive synaesthetic object design
o Integrated ritual modeling and design

Conceptual utility, or, the parodic/serious self-referential
examination of the concept of utility and the utility of concept,
inclusively ambiguates the delimiting of the white cube environment,
dissolving the boundary parameters defining exclusive spheres
demarcated as The Theoretical and The Functional—thereby
multi-defining Art as a utilitarian pursuit, Architecture and Design
as conceptual disciplines. Within this model, Design provokes
conceptual examination of the environment or objects so designed,
while simultaneously conferring a pure somatospiritual transcendental
experience, via viscerally detected synaesthetically semiological
systems. Design functions pragmatically as a conceptual utility, and
as such, while slipping from edifice into artifice and subterfuge,
retains its status qua Design, achieving a successful and beneficial
syncretism.

"Fuller being is closer union"; the ideal may be illustrated
symbolically via vesical parameters defining plenary synthesis. In
order to orchestrate a somatopsychic response, interactive audiovisual
stimuli systems integrate with the complexities of architectonic
spatial systems, compelling the viewer/inhabitant to choreograph their
own trajectories into the void through the mechanics of ambiguously
suggestive free play: from the physical, through the psychophysical,
to the metaphysical. Concentric holistic design organized
omni-vectorially towards an inevitable locus confers the viscerally
experienced saturated sensory absence necessary for a non-dualized,
fractally cosmospheric void projection. The work then absolves the
interior/exterior subject/object dualism, thereby equalizing the
hierarchy of vertical/horizontal perspective systems, de-lateralizing
vantage relationships into omni-point perspective. Through strong
formal "suggestion", all [spatial, visual, audial, temporal, psychic,
spiritual] tangential vectors converge at this omni-point, where the
nucleus of myriad systems concentricity epiphanically overwhelms the
viewpoint inhabitant into full realization of formal teleology:
however, the inhabitant's sensory systems concurrently receive a
full-spectrum saturation burst of No Data, bestowing a non-referential
achronological metaphysical float.




::GREY AREA::


System Mapping, to expose the superimposed macrocosmic revelatory patterns

Neutralizing identity and the self to achieve the pure experience
Bio-epicentric Microcosmic systems fractalization
(Integrated biospheric systems cosmology)

Architecture as semiotic for the epic meta-narrative of supreme
harmonic holarchy of ontology