[iDC] RE: communication and art

[dtj2]

>All,
    This note relates to the ideas about music. (Recall in my book, Primal 
Awareness, I devote a chapter to how Indigenous people understand "music.") I 
just received a contract for a new book I am now calling, "The authentic 
dissertation: Alternative ways of knowing, research and representation." I 
don't want a theoretical book, though the intro will rationalize. I want 
living examples of "out of the box" work that made the world a better place. 
IF you know of any such dissertations and about someone who could talk about 
the process and results, I'd like a brief proposal asap. Thanks much,
Four arrows

===== Original Message From Paul S Prueitt <psp at ontologystream.com> =====
>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.
>
>http://www.bcngroup.org/beadgames/TaosDiscussion/index.htm
>
>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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>
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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@[66.65.63.230]>
>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
>interest.
>
>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
>curriculum.
>
>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
>develop.
>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
>http://www.ontologystream.com/
>
>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".
>
>http://www.ontologystream.com/indexold.html
>
>I have made the following chapter in my on line book
>
>http://www.bcngroup.org/area3/pprueitt/kmbook/Chapter2.htm
>
>the most accessable to the core formal concepts of stratification theory.
>
>Chapter 4 is the best introduction to the neuroscience
>
>http://www.bcngroup.org/area3/pprueitt/kmbook/Chapter4.htm
>
>and
>
>http://www.bcngroup.org/area3/pprueitt/kmbook/Chapter1.htm
>
>Additional technical detail is in the third section of chapter 5
>
>http://www.ontologystream.com/area2/KSF/Sections/associativeMemory.htm
>
>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
>expression.
>
>The business model to support the artists, and the necessary production
>studios, needs only a fraction of the wealth generated by the recording
>studios.
>
>This business model is being discussed.
>
>Dr Paul S Prueitt
>505-613-2108

"Today's Understanding is Tomorrow's Reality"
www.teachingvirtues.net