Showing posts with label art. Show all posts
Showing posts with label art. Show all posts

Monday, 17 March 2014

Resource fields, Sovereign Territory & Why oppression breeds Artistry (and other stories for children between 6 and 600)

Across all productive fields, humanity engages itself with two connected forces of nature: resource, and its worker. The worker works the resource and aligns it through various processes until it becomes a product which, should the process be successful, be of 'greater' value than the resource as it was.

[I say 'greater' with fingery quotations out of respect to mathematics. As 'maticians may inform you nothing ever changes its value by being a whole rather than the sum of its parts. 1,5 + 1,5 = 3, but 3 isn't greater for being a whole number. Nor does the invested process (+) somehow raise the value of 1,5 and 1,5. When I say it is of greater value, I mean it in the sense that it is organised more efficiently. More efficiently for what? For use as a resource in a secondary process.]

Career is in essence a declaration of resource. Doctors doctor flesh in order to reshape it into a more effective format. In a similar fashion engineers engineer wood and steel to shape machines. These are two examples of shapers of physical resource, the primary field of science.

But careers are not restricted to the sciences. Politics, while adhering to laws as science does, is not described as a species of shaping something humans see as a natural resource. Namely, it shapes humans. In particular, it shapes human resources by harmonising their emotive sentiments. The atypical, functional politician acts as a medium through which resources travel, redistributing them to the places they need be to have the most impact for production. The clearest example of shifting human resources is the Industrial Revolution, during which humans deterritorialised (converted their wealth from the resource of land to the resource of labour) and moved to monolithic cities where they had the best resources to work with. The other aspect of this industry is not in moving people to resources, but resources to people. In the same revolution, physical resources were moved from points of natural occurrence to centralised storage where complimentary components with no geographical synergy could at last react.
The trouble with this second kind of transportation (physical resource to human resource) is that if at any point during the transfer the resource stops moving, it falls into the hands of the politician. Another way to look at this is to picture government as an ocean. In its most high-functioning state, it exists solely as a medium for transport, declared international and outside of the control of any single ruler. Should anyone lay claim to any part of these international waters, they also assume ownership of any cargo ships moving through them, and all cargo aboard. Should they believe it necessary, they can seize said cargo as an asset of their rule and redirect it as they see fit. This could not happen if the state did not make a sovereign location out of what should have been a free territory. While larger organisations (political parties) often seek to dominate the movement of resources, smaller ones (corporations and businesses) operate as free merchants through the same ocean of government, organizing their operations by a different code of conduct (sadly often still restricted by sovereign law). In a lot of ways corporations are smaller, individualised governments, kept in power by the success with which they perform the task of managing production. This distinction is initially rejected on the terms that our government is viewed as our employee: we pay them a sum of money to provide us with a service, whereas being part of a corporation means consumers pay us a sum of money for providing them with a service. However if a corporation holds a monopoly over a market, it means that they will at some point have to sell that service to their own employees. If, for example, X became the sole producer of food, its employees would still pay X a certain amount every month to survive. This is no different from taxation. Income tax is an effective means of making citizens of a country its employees, because the country then benefits from whatever form of labour that citizen undertakes. As far as getting wages in return from the government, our corporate employers, I can only assume that it must cost an overwhelming amount to pay for the services I get from them, so much so that there is a deficit on my salary at the end of the month, and in everyone else's. Our only wages are cleverly disguised as untouched income, a part share in the product of labouring in the country’s interest.
In these purely economic terms, a politician could still be seen as a shaper of physical reality, because the corporate president still relies solely on the production of tangibles as proof of their competence. The other kind of politician - the dangerous one - is the one who sells human sentiment rather than actual organisation. The resource they try to shape is an intangible: faith in the ability to deliver on promises, the charisma to convince others of integrity without evidence of it, a suspension of reality in the idea that the whole is greater than the sum of its parts, rather than exactly equal to it and damaged by each negative integer.
In principle, the vote is a good idea. Modern democracy relies on the notion that every human being should have a say in who runs their corporation - they each hold an equal share of stock in the company. But beyond that, we still face the terrible limitation of existing within the jurisdiction of a corporate monopoly. All we really vote on is a merger that shuffles around the country’s management divisions. In a true democracy, we should be able to sell our shares and invest in whatever company/country we believe will pay us the most and provide us with the greatest benefit package. We should even be able to start our own companies, with our own constitution for interactions between its members.  Federations are one step towards this, in the same sense that one step south brings you closer to Antarctica. As far as that kind of democracy goes, should you choose to leave the country, you don't even get as much as a severance package. What's more with countries still existing as land-based territories – something we realised was ineffective since the Industrial Revolution – the prospect of founding a new enterprise is lost to the prospect of either violent revolution or squatting on a lonely sandbar.
In short, politics sucks.

The third kind of worker is the technician. The technician is a very basic kind of worker who isn't held in the same inventive sphere as other workers - they are the hands of nations. Many of them are very talented - they devote the whole of their understanding to a single resource, be it a form of software, a mechanical device or a tool such as a spade or a pickaxe. Sometimes the line between the technician and the inventor blurs, particularly when there is the way to improve the use of a resource that others haven't considered by being too far removed from the link in the chain of production. Other technicians are bad technicians, because they assume that a flaw in the resource denotes a flaw in reality - particularly regarding software. Through intimate contact with binary logic, they assume binary logic constitutes of all logic, and they see what is on their screen as true physical reality rather than a representation of a narrow set of variables in regard to a specific problem. The bad technician is the one who mails an invoice costing $10 in postage to demand an outstanding $2 from a client. The bad technician is the one who looks at two conflicting reports and insists one is true arbitrarily because it came from 'their' system, like when a banking notification says that a sum of money has come through from a client and that same client is blacklisted later for not paying money into that account. Pure AlphaVille.
Technicians are dangerous because they lose touch with the world outside of their particular resource, and ultimately struggle to interact with it. This is very possibly true of all workers operating in broader spheres. The scientist often cannot understand the differently-ordered mind of the artist, and the artist cannot accept the 'consensus makes true' attitude of the politician. Technicians are very plentiful in the world, and are narrowed the most through their restriction to singular resources. They are the most likely to be encountered, and the most likely to annoy people. Now you know why. Hope that helps.

So in terms of resources, we have now looked at Scientists for Physical resources, Politicians for Human (bonding) resources, and Technicians for Specialised resources. We might even add the Industrialist as the counterpoint to the technician, as they have an eye on whole areas of production in organising how one resource is transformed into another. Last we come to Artists; those who exemplify the use of Mental resources. While it is true that the mind is a tool used in working any kind of material, the artist is particularly concerned with shaping the mind, not using the mind to shape. They do this through a variety of media used to challenge norms of perception, which directly manipulate how the mind interprets data. While some see this simply as entertainment, it is impossible to ignore the effects games and TV serials have on perception. In the worst cases, these can be used to improve combat reflexes and desensitise soldiers to violence. In the best, games can improve strategic cognition, and books can make us aware of alternatives to social norms. I stress emphasis on the last bit.

Within the world of resources, there are only finite materials available to work. Politicians fight over voters just as scientists fight over hadron colliders. I believe that this more than anything else is what drives advanced species to specialised work, because after a certain level of efficiency portions of the population are left without a purpose. To regain one they must move into unclaimed territory, or compete for the resources which have already been claimed.
This is why it is likely technicians who specialised in hunting and gathering later moved on to science as agriculture. Once these resources were controlled, politicians would branch out into human resource in an attempt to maximise group efficiency. Then industrialists would develop to fill the void left by bad politicians by truly organising collected resources. Last of all would come the artist. With the physical world claimed, human relations networked into iron-tight castes, jobs taken by both the industrialist and the technician, the only unclaimed resource is that which existed in the primitive cyberspace between human minds. Artists attempt to occupy this space, pushing into its frontier as resources in other locations became increasingly restricted. We still do. This perhaps explains Charles Bukowski's claim that suffering is essential to art; the more oppressive the physical world, the fewer resources from which to eke out life. The more our human bonds give way to scorched earth, the more desperately we are driven into our minds (or out of them, into virgin psychoses) as the last provider of material which we might shape to regain a sense of purpose.
This too is probably true for all other forms of workers. Artists may even be viewed as oppressors for committing exhibitionism, an act of invading another's psyche through art. A love of science could be brought about by the infringement of art's chaos in a worker's life.

What this shows us is a trend reflected throughout human history running parallel to the matrix of our social development. Just as nations declared sovereign control of resources and forced out those who disagreed with that ownership (rebels, pirates and pariahs), only to have those same outcasts eventually contribute to independent states with codes of their own, so too do outcasts from ‘filled’ career groups move into others to ply their trade when resources are controlled. This is the danger of enforced monopoly. When it occurs, inhabitants of its region move out – like that same idea of a centralised city undergoing industrial revolution, but in reverse. The city empties, the monoliths are deconstructed. When that happens, fewer resource collisions occur and technologies fail to progress.



Doctors, masons, painters and prophets take heed: The story of Babel was misinterpreted. The only metropolis that will ever succeed is one where those of divergent tongue are not cast out and scattered. It was the unity of its language that made Babylon fall.

Thursday, 5 August 2010

Art & Reason

One of my greatest fears as an artist is that I do not serve an essential function to society. In the field of Science, the quality of human life can be improved through the understanding and manipulation of precise natural laws. In the field of Industry, a man is judged worthy by the sweat on his brow, his labour and efforts, which lead to the creation of all the consumer goods we see as essential to survival. But Art... Art at its basis has no clear purpose. It is considered as a discipline devoted to entertainment, and detracts from progress by inspiring human indulgence. Time spent contemplating films and fiction is considered wasted, and because it is seen as such, that time is restricted in favour of industry and science.

This is how I feel I have been brought up by society to view the working world. It is not enough for me. It is not enough to serve a function as a mere entertainer. Certainly entertainment serves a purpose - it caters to the fragility of our emotional beings, providing catharsis, allowing us to empathise and through empathy experience the uncommon, primal feelings not associated with ordinary life. In this way it keeps our biological mainframe running smoothly, avoiding hormonal build-ups of aggression, lust, and depression. Bear in mind I am not a biologist. This is just how I understand human beings from their behaviorisms.

To reiterate, this is not enough. It is unfair to think of science and industry as the forerunners of the human race, while art is not so much in the race as it is the nutrition schedule for the athletes, in existence only to correct the errors and indiscretions of the mind. It is not enough to support. I want to know Art is driving progress, and shaping what we call our 'advanced' civilisation in a positive way.
So what is Art, if not pure folly?

What an Artist does, I term creation. Perhaps that is not the best way to distinguish them. An Industrialist creates. They mass produce according to a given design, or build according to the studied laws of architecture. A Scientist creates, putting forth their accumulated knowledge into the invention of a chemical or a machine. When an Artist creates, they twist their chosen material into an experience, a moment, or a sequence, with the intention of making it capable of evoking thoughts and feelings.
That is better. Humans create. What they create and how they create it determines their field.

My question is, "What is the use?". If not for entertainment, what function can fictional experience serve?
The immediate answer is that they inspire. Without Michael Crichton's 'Terminal Man', Kevin Warrick may never have stepped out of his field and achieved the first direct nerve-to-nerve communication. Without Jules Verne's 'From The Earth to The Moon', pioneer rocket scientists may never have dreamed it possible to reach outer space. Industrialists who had grown bored with routine may have found inspiration in Ayn Rand's 'The Fountainhead' and questioned the validity of their projects, and the course of their very careers. This in turn brings to light another function of Art; to catalyse ideas.
In general, Art can be said to be formed around a single concept or idea. Isaac Asimov's books concerning robots were centred on (duh) robotics, and have lead to frontier investigations concerning robotic rights and the ways one might develop an artificial intelligence. Numerous painters have used their talents to attempt a portrayal of gods and other celestial beings, which in turn evoke ideas in those who wonder at how ancient human beings saw the world. Liova Tolstoy's work 'War and Peace' centred on the idea of defining the truest realities of historical investigation and held his theories concerning the effect of freewill on a greater social movement, and his illustrations concerning that core idea.
Ideas keep our minds active. They not only help us build up an idea of reality, but force us to adapt that idea to suite discoveries, and nurture keeping the habit of an open mind when dealing with other fields of investigation.

To invent art is to twist a material into an experience; and that itself tells us about its function. More often than not, the human race is run against other human beings who stand the risk of destabilising progress by ignorance and arrogance, or alternately attempting to progress in a self-destructive direction. Art allows us to form a sense of empathy with them by 'sharing' their experiences and feelings, learning how they came about and how to work them into a more useful form. Much like psychology, it allows us to learn how other human beings work (almost like method acting) and optimise our ability to work with them through our understanding of them.
To empathise, to inspire, to generate thought. These things are what make a successful artwork, or at the very least a meaningful artwork. These things give art a use. They give it purpose.
So long as I keep these things in mind, it isn't shameful to be an artist. It is, in fact, a fairly benevolent pursuit, if I do say so myself.

Wednesday, 24 March 2010

Dialogue

Dialogues, trialogues and septalogues – basically any situation where one living entity is speaking to another – are quite simply the most difficult part of writing a story. If you think about films, the primary mode of displaying human relationships is through words. It is in fact the only time in a dramatic production that words are actually used over props, special effects and camera footage. Dialogue is therefore identifiable as the most important and awkward type of interaction any human being can perform.

This prompts the immediate reaction to set out dialogue as clear and segregated from the rest of one’s writing as possible.

Kim and Jono bumped into one another at the park.
“Hello.”
“Hello. How are you?”
“I am well thanks. How are you?”
“I am well too, thank you.”

The human brain tries its hardest to see the world as simply as this, even in real-life situations. But the fact is that nothing is ever so straightforward. Humans speak with their bodies as much as their words. Consider the difference made even to my trite dialogue above when I do the following:

“Hello!” Kim puffed, ending her spirited jog as she landed flat on her heels in front of Jono.
“Hello. How are you?” Jono replied, quite unprepared for Kim’s sudden arrival. He slipped his mobile into his pocket, self-conscious about the message that glared across the screen.
“I am well thanks,” Kim panted out, gaining her breath. Her eyes met his for a moment and she quickly looked away. “How are you?”
Jono shrugged and looked at Kim’s feet. Her sneakers were muddy, choked with long spaghetti threads of grass. “I am well too.” He tried to look at her eyes again, but she was obviously just as nervous as he was. A weak smile lifted his lips at the thought. “Thank you,” he murmured.

This is how even the most basic dialogue should look. Time doesn’t stand still when two people talk. Thousands of things are happening all at once. Even if the person who the protagonist is speaking to isn’t that interesting, it says a lot if a character is busy describing the background while someone is talking to them. Similarly, if two people with real chemistry are talking, the background fades and the speaker’s tiniest gestures become significant.

Monday, 10 August 2009

Why did I name the previous post 'Protocol'?

Firstly, because I really like the word. I like several unusual words - and unfortunately many very long ones - like, 'inchoate', 'indigestible', 'demographic' and 'visceral'. This is officially termed a 'lexicon' (another favourite) which means a series of words a specific writer commonly uses. Now I know what you're thinking; inchoate is a easy enough word to slip into a conversation, (ha ha, you so weren't thinking that) but generally people would have trouble with 'visceral' outside of an insult or a romantic confession (I really dare you to tell your boyfriend he invokes a visceral reaction in you). Somehow, I manage it. People don't tend to talk to me for more than a few seconds after I explete the first pernicious conglomerate of striking syllables, probably because it's an intimidating habit. I also suffer the opposite; when I'm not so loose-lipped I transform into a grunting troglodyte who oozes vibes that could make Bambi cry.

Plegh. Enough of my self pity for now.

I'm pretty sure that when I named the post 'Protocol' I was thinking "the standard thing to do right now is to say who I am and give an idea of what this blogs about and (water) just be honest really thats what this is all about so make people feel at home and make them like you stop caring if no one will read this is you make just one person happy it will be worth a million words"
You will have noticed two things from the above:
  • I do not punctuate my thoughts. There is just a long rambling line of stuff that crashes around the infinity between my eyebrows and my scalp. If there could be any punctuation mark I could inject it would be the ellipsis (...) because the ellipsis never signifies an end, simply a... continuation of thought with a random pause. Hmm... I wonder what really fills the space above those three dots in my mind?
  • I think in very small words. Most of the time, anyway, and only in passive thought. Active thoughts demand I slow down, extrapolate my verbosity, enunciate and punctuate every neuron. I guess that I should find some way to think at a comfortable median, and if any Buddhas are reading this blog, I invite you to tell me how.
I guess that in this instance 'Protocol' simply meant I was doing what I believed I should do to make a blog that seems blog-like. Critics will say, "No true art follows protocol", to which I will reply either, "GRUNT," or "I understand. You mean to proclaim that all artistic endeavor springs from an individual mind that cannot be inhibited by external viewpoints. I disagree, as art relies on perception, and perception will always hold an infinite number of diverse external viewpoints. Individual thought, under consideration, does not exist in a boundless universe. There is only Idea, and art is a manifestation of Idea."

(Slipping into a readable debate format)

Critic: Yes, naturally all art is centred around Idea, but it is the individual take on an Idea that makes the art art. Two men see a cow differently, but the Idea is still a cow. Picasso and Dali could both paint a cow, but their work would not be considered identical.

Avatar (You're really going to love this): I concede, description is the root of all individuality, but you must also consider the nature of the subject. A cow, by common description, is a four-stomached, mammalian, herbivorous quadruped. This is the Idea; the rule on which all variations of the cow spread. Picasso then says that the cow's dimensions are flat, desecrating one of the fundamental attributes of the Idea. Dali paints the cow with a curly moustache, annihilating another sacred tenet of Cow. Individuality demands the alteration of the original Idea.

Now I'm going to revert to my old friend philosophy to ask a personally variant question. What says that Cow as a four-stomached, mammalian, herbivorous quadruped was the original Idea?

Critic: A bloody wellspring of religious warfare lay claim to the answer. By common terms, the thing that names the Idea of cow as a four-stomached, mammalian, herbivorous quadruped is none other than God.

Avatar: Pass the man a banana! The answer is indeed the shimmering protector of Earth, or if it pleases you, giant lizards, machines, The Force, and the heroes of other argumentative religious factions. Or science, for the god damned atheists.
So this Creator invented the basis for all interpretations of his Idea, but we have to admit that his Idea of a cow as a four-stomached, mammalian, herbivorous quadruped is immutably his interpretation of his own thoughts. The only thing that makes people insist that he did not colour the cow with his own fancy is that he created the Idea of Cow rather than corrupting it.
Next I have to point out that God did not make a cow with a moustache. Dali is the creator of the mustachioed cow, just as Picasso is the creator of the flat cow. Their Idea of cow is di
Sweet bleating platypus, I've forgotten the point I was trying to make.
(Sometime later)

Their Idea of cow is based on what God said a cow was, in a fancier term, God's PROTOCOL is the SCIENTIFIC cow. To draw any variation of original cow is to adapt from protocol. My point is that protocol is required. Rules, laws and regulations are required. In the words of the rattiest whiskey-swilling scoundrel known to man, "Rules are made to be broken." In art, this is true.
Every human being has the Creator's Ideas thrust in his face from the moment of her/his birth. We can't help but look. What we can do is adapt. We can break the laws through artwork. Perhaps Art, as a defiance of God's law, should be seen as sin.

(Dialogue over)

To the creator of this Blog site, you have formed a method of creating further Art. That is an art in itself. Your protocol is a suggestion of a certain beginning to one's blog which I think I've kind of stuck to. It is orderly, it makes sense, and it promotes the welfare of the Idea you created. In order to use the instrument you have wrought I followed the given protocol. Beyond that protocol and past the Idea of what a blog should be - that is up to me. Thank you. You are a liberal creator.

I think that's enough fatooting for now. I understand my discourse was circular, and that there was no true victor, but it is through such investigations that I learn. Personally, I see all Ideas as original so long as there is any kind of variation. A cow is not a cow with a hernia is not a cow with a moustache, so to speak.

There was more fatooting after the fatoot comment, so I'll put another fatoot comment at the very end so that it actually makes sense.

I think that's enough fatooting for now.