[iDC] RE: communication and art

dtj2 Don.Jacobs at NAU.EDU
Sat Jan 27 21:39:18 EST 2007

>Wopila-thanks Paul for your gracious words and introduction. I can't remember 
if I already sent the message to you but I am soliciting chapter ideas for a 
book entitled "The Authentic Dissertation: Alterative ways of knowing, 
research and representation" with Routledge of London. If anyone knows of a 
dissertation beyond the performance one in an MFA, but one that informed the 
actual dissertation, please let me know as this would fit into the book 
   Respectfully, Four Arrows===== Original Message From Paul S Prueitt 
<psp at ontologystream.com> =====
>Four Arrows:
>let me introduce you to the group
>I deeply respect your work, which I regard as a clear exposition of future
>as well as past wisdoms.
>The concept that is being discussed is a linkage to the "now" by the
>"world-wide", "real-time" expression (and experience) of music.
>As you have written about, and as many of us know; many of the native
>cultures know the moment as having a special nature within which ceremony
>was produced.  (The stomp dance, for example.)
>My work in quantum cognitive neuroscience, with Karl Pribram, also
>establishes a structural knowledge of why works by David Bohm, and Rupert
>Sheldrake (and others) open the door to a "objective" knowledge of the
>contents of knows.   Of course the issue of subjective experience has been a
>hard one, but - my sense is that this experience is hard to understand
>because the intellectual frame is poorly set up by Western philosophy.
>Change the frame and things might be very much more clear.
>The concept that is being talked about is the development of a real time
>musical expression coming from all parts of the Earth (a digital Glass Bead
>Game) and being synthesized as a measurement of the substrate form which we
>feel consciousness is expressing.  This could be occurring just because
>people like Rhett can.  However, what I am looking to do is to
>institutionalize this and to create a differentially scaled subscription
>service - so that both the social value and some economic values can be
>funneled in a responsible fashion.
>One way to achieve the over all infrastructure without confining the
>creative flow is to derive income from the acquisition of herbs and teas,
>like from Amazon Herbs....    Mark Howarth is connected to the founder of
>but his discussions with me so far have not yet figured out a proper
>business model.
>Clearly co-coordinating the development of an real time orchestration of
>music from all over the planet is not a small undertaking.
>are you still in South America?
>-----Original Message-----
>From: dtj2 [mailto:Don.Jacobs at NAU.EDU]
>Sent: Friday, January 26, 2007 7:44 PM
>To: Adrianne Wortzel; idc; Paul S Prueitt; Rhett Smith
>Cc: Elizabeth Ashby; Ivan Prueitt; Jayanth Paraki; Judith Iam; Karen
>Bolander-Claus; Ken Ewell; Ken Russell; Peter Krieg
>Subject: RE: communication and art
>    This note relates to the ideas about music. (Recall in my book, Primal
>Awareness, I devote a chapter to how Indigenous people understand "music.")
>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
>>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.
>>Send iDC mailing list submissions to
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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
>>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
>>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
>>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
>"Today's Understanding is Tomorrow's Reality"

"Today's Understanding is Tomorrow's Reality"

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