[iDC] communication and art

Paul S Prueitt psp at ontologystream.com
Fri Jan 26 13:41:33 EST 2007

I am forwarding a note from Adrianne Wortzel to a very good forum on
communication and art.

and then making a technical note following this reposting.

The note will be highly technical, and I post Dr Wortzel's note first just
to indicate that there is an significant academic discipline emerging that
will support the concept of music, and ontology, streaming real time as part
of a new safeNet process.


My work has focused on "how" real time expression of creativity might be
facilitated - both using current means and within the context of generative
digital objects.

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Message: 1
Date: Fri, 26 Jan 2007 10:33:27 -0500
From: Adrianne Wortzel <sphinx at camouflagetown.tv>
Subject: [iDC] sharing "new media" curricula/potentials
To: IDC list <idc at bbs.thing.net>
Message-ID: <p06240802c1dfcf53cb81@[]>
Content-Type: text/plain; charset="us-ascii"

Dear All:

Congratulations on this terrific forum. The following are ruminations
on my own experiences, but I put them forward in case they may be of

I am an artist who is also a Professor of Communication design at New
York City College of Technology in Brooklyn New York, as well as an
Adjunct Professor of Mechanical Engineering at the Cooper Union for
the Advancement of Science and Art and a member of the Faculty of the
Interactive Technology and Pedagogy Certificate Program at CUNY's
Graduate Center. This litany of credentials was achieved almost as an
aside to a struggle to create conditions to allow the development of
meaningful and effective curriculum for the advancement of creative
work in any discipline in these institutions. By creative work I mean
any endeavor in any discipline engaging conceptual development
embedded in new technologies. My driving point here, simultaneously
considered "visionary" and "totally insane" by some of my peers (and
that's not helpful either way), is the importance of putting forward
"invention" in the classroom as the overall umbrella for developing

To sum up prior to the short digressions below, at any one or more of
these institutions, I am involved in these endeavors: listed in the
order of my favorite things to do from 1 to 4.

1.  The creation of labs and production facilities for innovative
research and practice out of which newly appropriate curriculum can
2.  Individual interdisciplinary courses.
3.  Developing protocols in an institution for considering curriculum
development solutions as a process, not a "package"
4. Full programs housed in an upper or new division, which are linked
to individual departmental courses plus new courses.


<continuing note from Paul Prueitt

How to understand invention, creativity and innovation?

The stratified theory that I have developed, based on my understanding of
other scholar's work, is not consistent with Newtonian paradigm assertions
about causality, nor with extreme reductionism in science or fundamentalism
in social/religious/economic theory.  So my work may appear inaccessible to
those who have allowed the current media/social/economic system to program
their minds.   (I know of no way to say this politely, but I wish that each
person see that I intend no offense.)

But to others, there is a way of thinking that makes my work readable and
anticipatory of "what is next".


I have made the following chapter in my on line book


the most accessable to the core formal concepts of stratification theory.

Chapter 4 is the best introduction to the neuroscience




Additional technical detail is in the third section of chapter 5


This work may seem to the reader as being entirely un-necessary in its
difficulty, and I very very sincerely apologize for this difficulties.

I spend almost every waking moment nowadays trying to figure out a way to
talk about

    "orchestrated emergence"

in the stratified theory without burdening the discussion with such
difficult concepts, science and formalism.

The possibility that my present discussions have is to by-pass the need to
have anyone but a few take the time to be aware of the extensive backgrounds
needed to see what I see.  This means, that the theory must lead to a build
able system where the measurement of the structure of the expression of time
is observable (in social discourse or in the creative expression of
impromptu music.)

This possibility is that world wide jazz, blues, and other real time
performances be streamed into the safeNet as a virtual presentation of the
"moment".  The theory suggests that when this real time expression in
virtual space starts to occur, that the nature of the present moment will be
recognized by performing artists, around the world; and that audiences will
see the difference between recorded music and real time deep artistic

The business model to support the artists, and the necessary production
studios, needs only a fraction of the wealth generated by the recording

This business model is being discussed.

Dr Paul S Prueitt

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