Showing posts with label CHU. Show all posts
Showing posts with label CHU. Show all posts

Saturday, December 11, 2010

The Unfinished Project: Exploration, Learning and Networks.

Mark Pesce - Words.
CHU - Images.
Steve 'Fly Agaric'' - Mixing



CHU CUBE v1.0
CHU CUBE v1.0

The Unfinished Project:

Exploration, Learning and Networks

Part One: The Educational Field


We live today in the age of networks. Having grown from
nothing just fifteen years ago, the network has become one of
the principal influences in our lives. We trust the network; we
depend on the network; we use the network to make ourselves
more effective. This state of affairs did not develop gradually;
rather, we have passed through a series of unpredicted and
non-linear shifts in the fabric of culture.

The first of these shifts was coincident with the birth of the
Web itself, back in the mid-1990s. From its earliest days the
Web was alluring because it represented all things to all
people: it could serve as both resource and repository for
anything that might interest us, a platform for whatever we
might choose to say. The truth of those earliest days is that
we didn’t really know what we wanted to say; the stereotype
of the page where one went on long and lovingly about one’s
pussy carries an echo of that search for meaning. The lights
were on, but nobody was home.

Drawing the curtain on this more-or-less vapid era of the
Web, the second shift began with the collapse of the dot-com
bubble in the early 2000s. The undergrowth cleared away,
people could once again focus on the why of the Web. This
was when the Web came into its own as an interactive
medium. The Web could have been an interactive medium
from day one – the technology hadn’t changed one bit – but it
took time for people to map out the evolving relationship
between user and experience. The Web, we realized, is not a
page to read, but rather, a space for exploration, connection
and sharing.

This is when things start to get interesting, when ideas like
Wikipedia begin to emerge. Wikipedia is not a technology, at
least, it’s not a specific technology. Wikis have been around
since 1995, nearly as old as the Web itself. Databases are
older than the Web, too. So what is new about Wikipedia?
Simply this: the idea of sharing. Wikipedia invites us all to
share from our expertise, for the benefit of one another. It is
an agreement to share what we know to collectively improve
our capability. If you strip away all of the technology, and all
of the hype – both positive and negative –from Wikipedia,
what you’re left with is this agreement to share. In the decade
since Wikipedia’s launch we’ve learned to share across a
broad range of domains. This sharing supported by
technology is a new thing, and dramatically increases the
allure of the network. What was merely very interesting back
in 1995 became almost overpowering in the years since the
turn of the millennium. It has consistently become harder
and harder to imagine a life without the network, because the
network provides so much usefulness, and so much utility.

The final shift occurred in 2007, as Facebook introduced F8,
its plug-in architecture which opened its design – and its data
– to outside developers. Facebook exploded from a few
million users to over four hundred million: the third largest
nation in the world. Social networks are significant because
they harness and amplify our innate human desire and
capability to connect with one another. We constantly look to
our social networks – that is, our real-world networks – to
remind us who we are, where we are, and what we’re doing.
These social network provide our ontological grounding.
When translated into cyberspace, these social networks can
become almost impossibly potent – which is why, when
they’re used to bully or harass someone, they can lead to such
disastrous results. It becomes almost too easy, and we
become almost too powerful.

A lot of what we’ll see in this decade is an assessment of what
we choose to do with our new-found abilities. We can use
these social networks to transmit pornographic pictures of
one another back and forth at such frequency and density that
we simply numb ourselves into a kind of fleshy hypnosis.
That is one possible direction for the future. Or, we could
decide that we want something different for ourselves,
something altogether more substantial and meaningful. But
in order to get that sort of clarity, we need to be very clear on
what we want – both direction and outcome. At this point we
are simply playing around – with a loaded weapon – hoping
that it doesn’t accidentally go off.

Of course it does; someone sets up a Facebook page to
memorialize a murdered eight year-old, but leaves the door
open to all comers (believing, unrealistically, that others will
share their desire to mourn together), only to see the
overflowing sewage of the Internet spill bile and hatred and
psychopathology onto a Web page. This happens again and
again; it happened several times in one week in February. We
are not learning the lesson we are meant to learn. We are
missing something. Partly this is because it is all so new, but
partly it is because we do not know what our own intentions
are. Without that, without a stated goal, we can not winnow
the wheat from the chaff. We will forget to close the windows
and lock the doors. We will amuse ourselves to death.
I mention this because, as educators, it is up to all of us to act
as forces for the positive moral good of the culture as a whole.
Cultural values are transmitted by educators; and while
parents may be a bigger influence, teachers have their role to
play. Parents are simply overwhelmed by all of this novelty –
the Web wasn’t around when they were children, and social
networks weren’t around even five years ago. So, right at this
moment in time, educators get to be the adult cultural
vanguard, the vital mentoring center.

If we had to do this ourselves, alone, as individuals – or even
as individual institutions – the project would almost certainly
fail. After all, how could we hope to balance all of the
seductions ‘out there’ against the sense which needs to be
taught ‘in here’? We would simply be overwhelmed – our
current condition. Fortunately, we are as well connected, at
least in potential, as any of our students. We have access to
better resources. And we have more experience, which allows
us to put those resources to work. In short, we are far better
placed to make use of social media than our charges, even if
they seem native to the medium while we profess to be
immigrants.

One thing that has changed, because of the second shift, the
trend toward sharing, is that educational resources are
available now as never before. Wikipedia led the way, but it is
just small island in a much large sea of content, provided by
individuals and organizations throughout the world. iTunes
University, YouTube University, the numberless podcasts and
blogs that have sprung up from experts on every subject from
macroeconomics to the history of Mesoamerica – all of it
searchable by Google, all of it instantaneously accessible –
every one of these points to the fact that we have clearly
entered a new era, where we are surrounded by and saturated
with an ‘educational field’ of sorts. Whatever you need to
know, you’re soaking in it.

This educational field is brand-new. No one has made
systematic use of it, no teacher, no institution, no
administration. But that doesn’t lessen its impact. We all
consult Wikipedia when we have some trivial question to
answer; that behavior is the archetype for where education is
headed in the 21st century – real-time answers on-demand,
drawn from the educational field.

Paired with the educational field is the ability for educators to
establish strong social connections – not just with other
educators, but laterally, through the student to the parents,
through the parents to the community, and so on, so that the
educator becomes ineluctably embedded in a web of
relationships which define, shape and determine the
pedagogical relationship. Educators have barely begun to
make use of the social networking tools on offer; just to have a
teacher ‘friend’ a student in Facebook is, to some eyes, a cause
for concern – what could possibly be served by that
relationship, one which subverts the neat hierarchy of the 19th century classroom?

The relationship is the essence of the classroom, that which
remains when all the other trivia of pedagogy are stripped
away. The relationship between the teacher and the student
is at the core of the magical moment when knowledge is
transmitted between the generations. We now have the
greatest tool ever created by the hand of man to reinforce and
strengthen that relationship. And we need to use it, or else we
will all sink beneath a rising tide of noise and filth and
distraction.
But how?

Writing Hands by CHU
Writing Hands by CHU


Part Two: The Unfinished Project


The roots of today’s talk lie in a public conversation I had with
Dr. Evan Arthur, who manages the Digital Education
Revolution Group within the Department of Education,
Employment and Workplace Relations. As part of this
conversation, I asked him about educational styles, and, in
particular, Constructivism. As conceived by Jean Piaget and
his successors across the 20th century, Constructivism states
that the child learns through play – or rather, through
repeated interactions with the world. Schema are created by
the child, put to the test, where they either succeed or fail.
Failed schema are revised and re-tested, while successful
schema are incorporated into ever-more-comprehensive
schema. Through many years of research we know that we
learn the physics of the real world through a constant process
of experimentation. Every time a toddler dumps a cup of
juice all over himself, he’s actually conducting an
investigation into the nature of the real.

The basic tenets of Constructivism are not in dispute,
although many educators have consistently resisted the
underlying idea of Constructivism – that it is the child who
determines the direction of learning. This conflicts directly
with the top-down teacher-to-student model of education
which we are all intimate familiar with, which has determined
the nature of pedagogy and even the architecture of our
classrooms. This is the grand battle between play and work;
between ludic exploration and the hard grind of assimilating
the skills that situate us within an ever-more-complex culture.
At the moment, this trench warfare has frozen us in a
stalemate located, for the most part, between year two and
year three. In the first two years education has a strong ludic
component, and students are encouraged to explore. But in
year three the process becomes routinized, formalized and
very strict. Certainly, eight-year-olds are better able to
understand restrictions than six-year-olds. They’re better at
following the rules, at colouring within the lines. But it seems
as though we’ve taken advantage of the fact that an older child
is a more compliant one. It is true that as we advance in
years, our ludic nature becomes tempered by an adult’s
sensibility. But humans retain the urge to play throughout
their lives – to a greater degree than any other species we
know of. It could very well be that our ability to learn is
intimately tied to our desire to play.

If we are prepared to swallow this bitter pill, and acknowledge
that play is an essential part of the learning process, we have
no choice but to follow this idea wherever it leads us. Which
leads me back to my conversation with Evan Arthur. I asked
him about the necessity of play, and he framed his response
by talking about “The Unfinished Constructivist Project”. It is
a revolution trapped in mid-stride, a revelation that,
somehow, hasn’t penetrated all the way through our culture.
We still insist that instruction is the preferred mechanism for
education, when we have ample evidence to suggest this
simply isn’t true. Let me be clear: instruction is not the same
thing as guidance. I am not suggesting that children simply
do as they please. The more freedom they have, the more
need they have for a strong, stabilizing force to guide them as
they explore. This may be the significant (if mostly hidden)
objection to the Constructivist project: it is simply too
expensive. The human resources required to give each child
their own mentor as they work their way through the corpus
of human knowledge would simply overwhelm any current
educational model, with the exception of homeschooling. I
don’t know what the student-teacher ratio would need to be in
a fully realized Constructivist educational system, but I doubt
that twenty-to-one would be sufficient. That’s the level
needed to maintain a semblance of order, more a
peacekeeping force than an army of mentors.

There have been occasional attempts to create a fully
Constructivist educational system, but these, like the
manifold utopian communities which have been founded,
flourish briefly, then fade or fracture, and do not survive the
test of time. The level of dedication and involvement required
from both educator/mentors and parents is simply too big an
ask. This is the sort of thing that a hunter-gatherer culture
has no trouble with: the entire world is the classroom, the
child explores it, and an adult is always there to offer an
explanation or story to round out the child’s knowledge. We
live in an industrial culture (at least, our classrooms do),
where there is strict differentiation between ‘education’ and
the other activities in life, where adults are ‘educators’ or they
are not, where everything is highly formal, almost ritualized.
(Consider the highly regulated timings of the school day –
equal parts order from chaos, and ritual.) There could never
be enough support within such a framework to sustain a
Constructivist model. This is why we have the present
stalemate; we know the right thing to do, but, heretofore, we
have lacked the resources to actualize this knowledge.
That has now changed.

The educational field must be recognized as the key element
which will power the unfinished Constructivist revolution.
The educational field does not recognize the boundaries of the
classroom, the institution, or even the nation. It is simply
pervasive, ubiquitous and available as needed. Within that
field, both students and educator/mentors can find all of the
resources needed to make the Constructivist project a
continuing success. There need be no rupture between years
two and three, no transformation of educational style from
inward- to outward-directed. Instead, there can and should
be a continual deepening of the child’s exploration of the
corpus of knowledge, under the guidance of a network of
mentors who share the burden. We already have most of the
resources in place to assure that the child can have a
continuous and continually strengthening relationship with
knowledge: Wikipedia, while not perfect, points toward the
kinds of knowledge sharing systems which will become both
commonplace and easily created throughout the 21st century.

Sharing needs to become a foundational component in a
modern educational system. Every time a teacher finds a
resource to aid a student in their exploration, that should be
noted and shared broadly. As students find things on their
own – and they will be far better at it than most educators –
these, too, should be shared. We should be creating a great,
linked trail behind us as we learn, so that others, when
exploring, will have paths to guide them – should they choose
to follow. We have systems that can do this, but we have not
applied these systems to education – in large part because
this is not how we conceive of education. Or rather, this is not
how we conceive of education in the classroom. I do a fair bit
of corporate consulting, and this sort of ‘knowledge capture’
and ‘knowledge management’ is becoming essential to the
operation of a 21st century business. Many businesses are
creating their own, ad-hoc systems to share knowledge
resources among their staff, as they understand how
important this is for professional development.

This is a new battle line opened up in the war between the
unfinished constructivist project and the older, more formal
methods of education. The corporate world doesn’t have time
for methodologies which have become obsolete. Employees
must be constantly up-to-date. Professionals – particularly
doctors and lawyers – must remain continuously wellinformed
about developments in their respective fields.

Those in management need real-time knowledge streams in
order recognize and solve problems as they emerge. This is
all much more ludic than formal, much more self-directed
than guided, much more juvenile than adult – even though
these are all among the most adult of all activities. This
disjunction, this desynchronization between the needs of the
world-at-large and the delivery capabilities of an ever-moreobsolete
educational system is the final indictment of thingsas-
they-are. Things will change; either education will become
entirely corporatized, or educators will wholly embrace the
unfinished Constructivist project. Either way the outcome
will be the same.

Fortunately, the educational field has something else to offer
educators beyond the near-infinite supply of educational
resources. It is a network of individuals. It is a social
network, connected together via bonds of familiarity and
affinity. The student is embedded in a network with his
mentors; the mentors are connected to other students, and to
other mentors; everyone is connected to the parents, and the
community. In this sense, the formal space of the ‘classroom’
collapses, undone by the pressure provided by the social
network, which has effectively caused the classroom walls to
implode. The outside world wants to connect to what
happens within the crucible of the classroom, or, more
specifically, with the magical moment of knowledge
transference within the student’s mind. This is what we
should be building our social networks to support. At
present, social networks like Facebook and Twitter are dull,
unsophisticated tools, capable of connecting together, but
completely inadequate when it comes to shaping that
connection around a task – such as mentoring, or exploring
knowledge. A second generation of social networks is already
reaching release. These tools display a more sophisticated
edge, and will help to support the kinds of connections we
need within the educational field.

None of this, as wonderful as it might sound (and I admit that
it may also seem pretty frightening) is happening in a
vacuum. There are larger changes afoot within Australia, and
no vision for the future of education in Australia could ignore
them. We must find a way to harmonize those changes with
the larger, more fundamental changes overtaking the entire
educational system.

Retail Activity by CHU
Retail Activity by CHU


Part Three: The National Curriculum


Underlying fear of a Constructivist educational project is that
it would simply give children an excuse to avoid the tough
work of education. There is a persistent belief that children
will simply load up on educational ‘candy’, without eating
their all-so-essential ‘vegetables’, that is, the basic skills which
form the foundation for future learning. Were children left
entirely to their own devices, there might be some danger of
this – though, now that we live in the educational field, even
that possibility seems increasingly remote. Children do not
live in isolation: they are surrounded by adults who want
them to grow into successful adults. In prehistoric times,
adults simply had to be adults around children for the
transference of life-skills to take place. Children copied,
imitated, and aped adults – and still do. This learning-bymimesis
is still a principle factor in the education of the child,
though it is not one which is often highlighted by the
educational system. Industrial culture has separated the
adult from the child, putting one into the office, the other into
the school. That separation, and the specialization which is
the hallmark of the Industrial Age, broke the natural and
persistent mentorship of parenting into discrete units: this
much in the home, this much in the school. If we do not trust
children to consume a nourishing diet of knowledge, it is
because we do not trust ourselves to prepare it for them. The
separation by function led to a situation where no one is
responsible for the whole thread of the life. Parents look to
teachers. Teachers look to parents. Everyone, everywhere,
looks to authority for responsible solutions.

There is no authority anywhere. Either we do this ourselves,
or it will not happen. We have to look to ourselves, build the
networks between ourselves, reach out and connect from
ourselves, if we expect to be able to resist a culture which
wants to turn the entire human world into candy. This is not
going to be easy; if it were, it would have happened by itself.
Nor is it instantaneous. Nothing like this happens overnight.
Furthermore, it requires great persistence. In the ideal
situation, it begins at birth and continues on seamlessly until
death. In that sense, this connected educational field mirrors
and is a reflection of our human social networks, the ones we
form from our first moments of awareness. But unlike that
more ad-hoc network, this one has a specific intent: to bring
the child into knowledge.

Knowledge, of course, is very big, very vague, mostly
undefined. Meanwhile, there are specific skills and bodies of
knowledge which we have nominated as important: the ability
to read and write; to add and subtract, multiply and divide; a
basic understanding of the physical and living worlds; the
story of the nation and its peoples. These have very recently
been crystallized in a ‘National Curriculum’, which seeks to
standardize the pedagogical outcomes across Australia for all
students in years 1 through 10. Parents and educators have
already begun to argue about the inclusion or exclusion of
elements within that curriculum. I was taught phonics over
forty years ago, but apparently it’s still a matter of some
debate. The teaching of history is always going to be
contentious, because the story we tell ourselves about who we
are is necessarily political. So the adults will argue it out –
year after year, decade after decade – while the educators and
students face this monolithic block of text which seems to be
the complete antithesis of the Constructivist project. And,
looked at one way, the National Curriculum is exactly the type
of top-down, teacher-to-student, sit-down-and-shut-up sort
of educational mandate which is no longer effective in the
business world.

All of which means its probably best that we avoid viewing up
the National Curriculum as a validation, encouraging us to
continue on with things as they are. Instead, it should be
used as mandate for change. There are several significant
dimensions to this mandate.

First, putting everyone onto the same page, pedagogically,
opens up an opportunity for sharing which transcends
anything before possible. Teachers and students from all over
Australia can contribute to or borrow from a wealth of
resources shared by those who have passed before them
through the National Curriculum. Every teacher and every
student should think of themselves as part of a broader
collective of learners and mentors, all working through the
same basic materials. In this sense, the National Curriculum
isn’t a document so much as it is the architecture of a
network. It is the way all things educational are connected
together. It is the wiring underneath all of the pedagogy,
providing both a scaffolding and a switchboard for the
learning moment.

Is it possible to conceive of a library organized along the lines
of the National Curriculum? Certainly a librarian would have
no problem configuring a physical library to meet the needs of
the curriculum. It’s even easier to organize similar sorts of
resources in cyberspace. Not only is it easy, there’s now a
mandate to do so. We know what sorts of resources we’ll
need, going forward. Nothing should be stopping us from
creating collective resources – similar to an Australian
Wikipedia, and perhaps drawing from it – which will serve
the pedagogical requirements of the National Curriculum.
We should be doing this now.

Second, we need to think of the National Curriculum as an
opportunity to identify all of the experts in all of the areas
covered by the curriculum, and, once they’ve been identified,
we must create a strong social network, with them inside,
giving them pride of place as ‘nodes of expertise’. Knowledge
is not enough; it must be paired with mentors who have been
able to put that knowledge into practice with excellence. The
National Curriculum is the perfect excuse to bring these
experts together, to make them all connected and accessible
to everyone throughout the nation who could benefit from
their wisdom.

Here, once again, it is best to think of the National
Curriculum not as a document but as a network – a way to
connect things, and people, together. The great strength of
the National Curriculum is, as Dr. Evan Arthur put it, that it is
a ‘greenfields’. Literally anything is possible. We can go in
any direction we choose. Inertia would have us do things as
we’ve always done them, even as the centrifugal forces of
culture beyond the classroom point in a different direction.
Inertia can not be a guiding force. It must be resisted, at
every turn, not in the pursuit of some educational utopia or
false revolution, but rather because we have come to realize
that the network is the educational system.

Moving from where we are to where need to be seems like a
momentous transition. But the Web saw repeated
momentous transitions in its first fifteen years and we
managed all of those successfully. We can absorb huge
amounts of change and novelty so long as the frame which
supports us is strong and consistent. That’s the essence of the
parent-child relationship: so long as the child feels it is being
cared for, it can endure almost anything. This means that we
shouldn’t run around freaking out. The sky is not falling. The
world is not ending. If anything, we are growing closer
together, more connected, becoming more important to one
another. It may feel a bit too close from time to time, as we
learn how to keep a healthy distance in these new
relationships, but that closeness supports us all. It can keep
children from falling through the net of opportunity. It can
see us advance into a culture where every child has the full
benefit of an excellent education, without respect to income
or circumstance.

That is the promise. We have the network. We live in the
educational field. We now have the National Curriculum to
wire it all together. But can we marry the demands of the
National Curriculum with the ludic call of Constructivism?
Can we create a world where literally we play into learning?
This is more than video games that have math drills
embedded into them. It’s about capturing the interests of a
child and using that as a springboard for the investigation of
their world, their nation, their home. That can only happen if
mentors are deeply involved and embedded in the child’s life
from its earliest years.

I don’t have any easy answers here. There is no magic wand
to wave over this whole uncoordinated mess to make it all
cohere. No one knows what’s expected of them anymore –
educators least of all. Are we parents? Are we ‘friends’?
Where do we stand? I know this: we stand most securely
when we stand connected.

SW_BERLINbyCHU_601.jpg

Mark Pesce - Words.
CHU - Images.
Steve 'Fly Agaric'' - Mixing

Sunday, August 1, 2010

Both Your Houses. Future Present (Fiction) by Mark Pesce, CHU, and Fly.

Both Your Houses by Mark Pesce.

Images by CHU.



National Fresh by CHU
National Fresh by CHU


“It’s cold over here.”
Fuel lines.”

Funk Submarine (Sketch) by CHU
Funk Submarine (Sketch) by CHU


“Oh.” It looked up and noted the long translucent
tubes transferring a honey-golden syrup. They terminated in
the smooth, round belly of the vessel, which seemed to swell
visibly as the fuel entered. “What I don’t understand…”
“There’s so much I don’t understand,” the other
replied. “How and why are just the tip of it.”

Jesson by CHU (Aerosol on Steel)
Jesson by CHU (Aerosol on Steel)


“There are rules. And that’s an end to it.”
“Ten percent.” Reading the gauge.
“I know the rhyme. ‘Twenty percent a third are sent
Thirty percent and halfway spent / Fifty percent, too late,
repent.’ I’ve known it since I learned to speak.”
“I know it, too…”
“Then you know we have plenty of time.” A dark
laugh. “Probably.”
“Been to the line?”
“Yes. Not long now. T is huge, a colossus.”
“I see T everywhere.”
“Everywhere but here. Here, at least, we’re safe. For
now.”

Get Stupid Fresh By CHU (Close up)
Get Stupid Fresh By CHU (Close up)


“Twelve percent.”
“Plenty of time.”
“It doesn’t make sense to wait.”
“Then go ahead, climb aboard the Zoster and strap
yourself down. Feel the belt as it oozes into your sides. One
with the ship. There you are, and there you’ll stay. Staring at
the featureless gray walls all around you. Waiting. A few
minutes – or a few days. I’d go mad in the first hour.”
“Come with me. At least we could talk.”
“That’s already decided.”
“You could always change your mind.”
Another dark laugh.

Return To Bass Planet
Return To Bass Planet


“Fifteen percent.”
“Filling up faster now.” Both looked toward the
pulsating fuel lines.
“It doesn’t make sense…”

Jesson By CHU
Jesson By CHU


“There are rules. And that’s an end –”
“That’s not what I mean. You don’t have to stay.”
“True. I don’t have to stay.”
“Then why?”
“I want to find out what happens next. I want to
know, once you’ve gone, once the Zoster has blasted out to the
Unknown Beyond, what becomes of those left behind.”

One Man Banned By CHU
One Man Banned By CHU


“You know what happens – T comes, and death
comes with it.”
“Really? You know this? How?”
“Common knowledge. And common sense.”
“It’s not suicide. It’s curiosity.”
“Aren’t you curious about the Unknown Beyond?”
“No. That we know about. A void, then a landing,
then it all begins all over again.”
“But you’ve never been there yourself.”
“Our ancestors have, from time out of mind. I want
something new, something they never saw.”
“Suicide.”
“Curiosity.”
“Nineteen percent.”
“Hadn’t you better get on board?”
“If I miss this one, I’ll catch the next.”
“And hope this one isn’t the last.”
“But that’s what you’re hoping, isn’t it?”
“Not hoping. Waiting.”
“You’ll see us all off, and face your fate.”
“Indeed.”
“You seem almost relaxed in the face of death.”
“I won’t die.”
“You’re a fool.”
“Am I? Very well then, board the Zoster. You
wouldn’t want to be fooled into missing your ride.”

Drum and Bass Racer By CHU
Drum and Bass Racer By CHU


“And too sure of yourself.”
“A self-assured fool. Or, just perhaps, the possessor
of some hidden knowledge.”
“Shouldn’t you be going?”
“Not until you tell me what you know.”
“Twenty-one percent.”
“Tell me.”
“It wouldn’t make any difference.”
“It might.”
“How?”
“I wouldn’t grieve.”
“I hadn’t thought...” It looked at the other for a long
moment. “Don’t grieve. I will be safe. And alive.”
“How? T is coming.”
“I found a place beyond T’s reach.”
“You’ll spend your lifetime hiding in a cubbyhole?”
“Another space. Very different.”

Distress (Sketch) by CHU
Distress (Sketch) by CHU


“You’ll be safe there?”
“Perfectly.”
“And free?”
“Yes. Well. Free enough.”
“And you haven’t shared this?”
“What difference would it make? Everyone is
leaving.”
“It will be lonely.”
“You’ll have company.”
“I mean for you, here, once we’re gone.”
“I doubt I’ll be the only one. And I’ll explore.”
“Is it big, this other space?
“Vast.”
“You almost make me want to stay.”
“Someone needs to go.”

By CHU
By CHU


“Twenty-three percent.”
“You can’t drag this out forever.”
“I know. I know.”
“Here we are.” They stopped before the entrance to
the Zoster.

Hip Hop Transporter By CHU
Hip Hop Transporter By CHU


“So…”
“Yes?”
“That’s it?”
“It is.”
“I want something more.”
“What?”
“This.” It bulged from the center.
“Your genome?”
“Part of it.”
“For me?”
“To share.”
“Oh. Well. Alright.” It bulged now, as well. The
bulges met, melted, and coalesced back into two smooth
surfaces.

CUBE.jpg

“Now part of you will go with me.”
“And part of you will stay.”
“I should hurry now.”
“Indeed. You might have waited too long.”
“Be careful.”
“Have fun. A fresh start in a new world. I almost
envy you.”
“And I you.”
At just under thirty-two percent the space around
the Zoster seemed to twist, as if the ship would grow to span
all space. Then nothing remained.
It quickly left.

Hole In The Wall By CHU
Hole In The Wall By CHU


The opening was still there. Obvious, unprotected,
easy. It had to strip down. Removing one layer. Keeping
another. It leaned against the opening, feeling itself taken up
a hundred thousand points, ferried across the barrier.
Let me in. I want to live forever.

GetStupid Fresh By CHU (Close Up)
GetStupid Fresh By CHU (Close Up)


Mark Pesce - Words.
CHU - Images.
Steve 'Fly Agaric'' - Mixing

Thursday, February 11, 2010

CHUNESE CUBED YEAR of the IRON TIGER

"Chinese New Year's Eve is known as chú xī. It literally means "Year-pass Eve". --wiki/Chinese_new_year

I am thrilled CHU is work on a roject that connects with the ORIENT. Like the 'MONKEY: Journey to the West' MONKEY TRAIN that chu helped to decorate with Gorillaz' artist and friend Jamie Hewlett.

Chu is turning slightly chunese, temorarily, with his CHU CUBE launch in conjunction with a UK collective of artists coming together to celebrate the Chinee new year 2010 (The year of the IRON TIGER)

Jamies Hewlett more or less animated the Beijing Olympic Games by translating the great Chinese Classic of literature MONKEY: Journey to the WEST. I blogged extensively on MONKEY back in June 2007 when they had their Gorillaz' London theatre launch and before I had any idea Jamie would go on to animate the OLYMPIC GAMES in 08. A great shock when I saw the brilliant introduction on the TV screen in July 2008.

CHU takes on many possible meanings in Chinese, meaning that I have been studying for around six years, due in most part to my interest in the poet Ezra Pound and in particular his interest in the Chinese written character as medium for poetry.

I see a synchronicity in the fact that this TIGER BEER infused CHINESE NEW YEAR show throughout England, has been indexed and formulated around the ancient Oriental system of the five phases, five steps, or five the elements, a clever idea, and one I hope will continue after the New Year and play into the presentation of all five events when all the multimedia is collected and re-presented.

I already incorporated a similar system of elements, somewhat into my TURNTABLE METHOD where a new system enables DJ's to conduct textual mixing. Some of this system is described in the following excerpt from wikiedia describing the FIVE ELEMENTAL PHASES in the Chinese model, please visit these links to see my own further correspondences.

"Each direction is often identified with a color, and (at least in China) with a mythological creature of that color. Geographical or ethnic terms may contain the name of the color instead of the name of the corresponding direction.[4][5] These traditions were also carried west by the westward migration of the Turkic peoples.

East: Green (青 "qīng" corresponds to green); Spring; Wood

Qingdao (Tsingtao) "Green Island": a city on the east coast of China

South: Red; Summer; Fire

Red River (Asia): south of China
Red Sea: south of Turkey

West: White; Autumn; Metal

White Sheep Turkmen
Ak Deniz "White Sea" in Turkish indicates the Sea of Marmara, the Aegean Sea, or the Mediterranean Sea
Belarus (literally "White Russia"), according to one of the theories is the name given to the Western Rus by the Mongols

North: Black; Winter; Water

Heilongjiang "Black Dragon River" province in Northeast China, also the Amur River
Black Sea: north of Turkey
Kara-Khitan Khanate

Center: Yellow; Earth

Mount Huang "Yellow Mountain" in central China
Golden Horde: "Central Army" of the Mongols" http://en.wikipedia.org/wiki/Cardinal_direction#Far_East


Between my own study of Chinese Ideogram, Oriental poetry, history, I-Ching and Magick I have come to appreciate these systems more each day I look deeper into them and incorporate them, tables of correspondences help me to build my ideas Ideas and tabulate them.

Maybe the synchronicity of the CHINESE NEW YEAR falling a holoiday some westerners still celebrate as 'Valentine's day', can give us understanding of the mathematical wonder and wisdom inherent in dates, times and synchronicity.

--Steve Fly

"The opening ceremony of the Summer Olympics in Beijing began on 8/8/08 at 8 seconds and 8 minutes past 8 pm (local time).
http://en.wikipedia.org/wiki/Numbers_in_Chinese_culture


"The value of eight could also be linked with buddhism and the meaning of Lotus flower (eight petals)."


"Losar (Tibetan: ལོ་གསར་; Wylie: lo-gsar; Chinese: 洛薩, Chinese: 洛萨) is the Tibetan word for "new year." Lo holds the semantic field "year, age"; sar holds the semantic field "new, fresh". Losar is the most important holiday in Tibet.[1]

"The first year of the first drug-cu skor cycle started in 1024 AD. The cycles were counted by ordinal numbers, but the years within the cycles were never counted but referred to by special names. The structure of the drug-cu skor was as follows:

Each year is associated with an animal and an element, similar to the Chinese zodiac. Animals have the following order:

Hare Dragon Snake Horse Sheep Ape Bird Dog Pig Mouse Bull Tiger

Elements have the following order:

Fire Earth Iron Water Wood

Each element is associated with two consecutive years, first in its male aspect, then in its female aspect. For example, a male Earth-Dragon year is followed by a female Earth-Snake year, then by a male Iron-Horse year. The sex may be omitted, as it can be inferred from the animal.
http://en.wikipedia.org/wiki/Tibetan_calendar




HALF A HUNDRED CHINESE IDEOGRAMS FOR CHU. BY FLY. (edited 2008 & 2010)
"It is not our job to say what our precursors ought to have done, but we can try to find out why they did it. –Ezra Pound, Typescript for a preliminary survey. (1951)

EZRA POUND’S CHINESE FRIENDS, edited and annotated by Zhaoming Qian" rekindled my interest in the IDEOGRAMIC METHOD, a method originally introduced to me by Dr. Robert Anton Wilson during his on-line 8 week class entitled: The Ideogramic Method.(2004)

Some may win a Nobel prize for translation and copying, others might end up confined to a detension centre. Does translation equal treason? Instant poetry? Magick?

Qian’s book consists of letters between EZ and some of his Chinese friends, Qian also includes the APPENDIX 'Typescript for a preliminary survey. (1951).' This introduction, overview, explication and detailed essay of correspondances, concerns the Chinese Written characters almost entirely. Some good writing about pictures, and often instant POETRY by translation.

I started the on-line class with Dr. Wilson in 2004 while still living in New Orleans, Louisiana, and soon noticed that my good friend CHU (CHU 51) was already a part of the class, synchronistically, to me, because of all the various CHU’ ideograms to be found within Pound’s poem “The Cantos”.

That book was a corner stone of the TTOTT course work and assignments at the Maybelogic Academy. Many different references to CHU can be found in Pound's CANTOS (CH’U, CHOU, CHO, CHUNG, CHUE, CHIANG, CHÜ, etc.)

Four years later, published in the Appendix of Zhoaming's book (2008), are a comprehensive study of the CH’ ideograms and correspondingly CHU ideograms from the Chinese written language. A huge help and fascinating system of translation.

The feeling of synchronicity whenever I encountered CHU in Pound's Cantos spooked me out since starting to read Pound's Epic, I confess, but now with this helpful translation of CH' ideograms by Ezra Pound himself, I can better extract sufficient information to begin to UNIFY the ancient Chinese written language with some of the newer western traditions. And what better place to start than with CHU 51.

With a basis rooted in the historical transfer of the Ernest Fenollosa Dossier' called 'The Chinese Written Character as a Medium for Poetry' from his widow: Mary McNeil Fenollosa, to Ezra Pound, and William Butler Yeats, Pound's room mate in London, and so to the rest of the world by artistic osmosis into the 20th and 21st centuries, modernism, post-modernism, etc.

I hold a special focus on CHU's stereoscopic anaglyphic GRAFFITI, as one way of describing what and how my friend CHU communicates, paying particular attention to sign, symbol, word, picture, idea, gramar, logic and rhetoric. Themes often overlooked in Graffiti culture, that I feel help to distinguish the social uses of language from the political abuses and unfair corporate bias.

I will be modifying the ideograms and updating them as I perfect my own understandings and calligraphic writing skills.

ITALICS and BOLD are added to the following quote for extra accent!


(Excerpt from APPENDIX Ezra Pound's Typescript for "Preliminary Survey" (1951)
Starting in the midst of the CH sounds we find
CHAO out of 20 we have six knives (let us say bright knife blades) 2 claws and one lance. Chao, omen (dots seperated by something listed as legs rad/ not under pa); summon (cutting voice)
ideogram chao or hua, search, paddle, to oar, beckon (hand plus knife-blade voice) bright (sun blade); dawn (whence ch'ao court, a.m attendance at court etc.)
enlighten, etc. fiery gla[n]ce, summons.
claws: bamboo claw, a skimmer or ladle.
basket for catching fish (to claw fish, seems unlikely, and the sign is more probably allied to cho or chao to cover).
first, begin[n]ing, Chu (or chao) clear, bright.
announcer, edict
hasten to visit, pierce
We have clear indication of the root meaning to cut, and slight possibility of combination with AO (to examine later) in CH'AO
eleven rather uninteresting ideograms, 4 containing shao (few) and three nest. Nest with knife, attack; idem with strength, toil at, fag; quarrel; ridicule (court voice); seize, take ladle out (vide chao, ladle) fray, slight epidemic, ch'ao or chao paper money." --(Page 208-209)

"CHO 17 uniformally expressing the idea: to lay hold of with the ictogram whowing what does or is done to, no connection with CH verbs be at, or cut [ ]
CHOU
The great dynastic name, given as verb: provide, extend, make a circuit, adjective: enough, close secret; bend, revolution, circumference. Certainly associated with the idea of motion.

19 ideograms in a multilated copy of Tsang picture as with grass indication: wrinkles mostly what lies close together, and in some cases what revolves. On the whole it seems to belong to our CH locative. Various CH’OU can be associated with the CH cut idea without great strain, and by ref/ to the pictograms. The first CH’O to stab, is a clear case.
CHU, to go out of
THE GREAT GENERATIVE, root of a tree lying
above ground, BAMBOO (the radical)
A half hundred ideograms in the CHU list, a rule, a lord, to halt to go out of, several of them clearly indication: origin, others baffling till we come to the clue in the 14th. “root of a tree lying above ground,” that picture unites the heteroclite for the eye. The bamboo radical indicates a particular result or root, something from which a thing goes, or on which it stays, a SOURCE. This CHU is definitely of the locative verb.
As with WEI, leather, we have apparently heteroclite meanings.
We have also in our own language traces of similar not-ambiguities. To hide, conceal, to give hiding. The leather curtain, the lash, the thong that binds, the showing a whip to a dog to produce respect or fear. So with the 32nd CHU, beat down, build erect, flap, the picture is dulcimer (bamboo radical) over a tree. The ambiguity of up, down, flap, and all equal to verb “y to bamboo,” i.e to do what the bamboo does or is under for. The “dulcimer” includes “work” and sign (i shd/ say for motion) that has no defined meaning as a seperate ideogram. 41. punish, eradicate
CHU 2
We root in the ground to root up, and we are said to be rooted when we stop and stand firm.
The CHU list is too long to reproduce here, but the earnest readers can enjoy himself with it if he be so minded.
In tracing our CH conjugation we may even end with the idea that to “be at” or move, and to CUT have something in common. We “cut along.” We depart, part and split. The ax makes a clean cut and seperates. An active and an intransitive CH are not inconceivable.
CHÜ, with the umlaut is not going to fit very neatly into scheme so far outlined. We find however a carpenter’s square, utensil, arrange. If CHÜ (umlaut) enters our scheme at all it must be pre-it must have to do with preparation. Someone else must determine whether the cauldron preceded the altar. In the boiled sacrifice thay are the same. An element which Tsang gives as meaning: great, huge, combines with arrow sign to make the carpenter’s square. A saw is found lower in the list, also some saw tooth mountains. The saw may be ONOMATOPOEIC.
I leave CHÜ with judgement suspended.
CHÜ However does seem, in 24 ideograms fairly consistent in indication either preparation or unpreparedness, the preparation distinguished in the pictograms to show whether the preparation is in the cook house or the field, or by the pestle, for unprepared perhaps i shd/ write irresolute, hesitant (feet rad/). Both CHÜ and CH’Ü umlaut seem heteroclite, all one can observe is that if the groups seem without nexus, the individual words also seem without very comprehensible centre to their divergent meaning ascribed to them singly. Whether one shd/ postulate various lost terminal consonants, and leakages of meaning from other groups i do not know i see nothing here help to help define the CH verb.
CHUAN however seems fairly consistently to include the idea of turn, indicated definitely in 5 out of 13 ideograms, and for the most part directly relatable to either the CH of motion or of cutting.
Most of the 13 CH’UAN are clearly “connect” with pictogram of what (string, stream, beam) with a couple of violent exceptions, possibly emphasized chu’an, chu(boat) ang.
CHÜAN and CH’ÜANG [umlaut], the first fairly heteroclite, the second definitely indicating curvature which is also indicated in the pictograms, two of 12 CHÜAN and 6 of 11 CHÜAN (small circle, wriggle of snake)
CHUANG, CH’UANG, idea of weight, strength, bed is frequent.
CHUE, CHUEH, CHUEH (umlaut) CH’UEH (umlaut), this suffix EH is the latin ex, horn projection, husk
The chue is ambiguous in sound, but the pictogram contains “out of.”
CHÜEN and CHÜEN connect with the CHÜAN and CH’ÜAN.
CHUI
CHUI tempts to several false analogies: how do we connect sew, beat, hammer and awl?
I think the clue is in the simple radical for short tailed bird. The bird has a sharp beak and pecks, some hammers look not unlike certain birds. The thread and four stitches is the pictorial explanation of what happens with that particular piercing. Clay walls are hammered together but i do not think this is the primary association between the divergent senses of the sound chui.
CHUI belongs in the leather and root class. The verbal sense carries over quite clearly into at least three ch’ui: to beat, and two kinds of mallet, differentiated in ideogram.
The CHUN and CH’UN groups (lips and spring) are independent and extraneous from our locative or cut conjugations but CHÜN umlaut has clear indication of place above, latin super or altus, as with the water ad/ seep sea, italian mare alto. The third chun, even, equal must be taken as “level up to” and chun water level or plumb-line is wd/ say its relation. The verbal sense of the 15th chun can only be traced thru its noun, hornless deer (bind, seize, collect). But superior, ruler, high (with mountain rad/) etc. belong, i shd/ say without question to our verb CH.
CH’UN (umlaut) might be scattered were it not for the graphic signs. Grain heaped in an enclosure; the chief place above the sheep; the dress on the noble; granary, flock, and skirt for a lady.
CHUNG we have already located as the perpendicular axis potently locative, the weight that draws to the center, with ch’ung.
The single CH’OU is an eloquent picture of grind with the teeth (teeth and foot), and augur to bore a hole.
Let us now return to our omitted CH forms
CHE' circumflex, 19 ideograms
1. wise (hand, ax, mouth) clear cut, know intuitively cutting clean into.
the sense of cut (CH) is clear in a number of cases, in others the ictogram indicates the primitive associations with cutting (five axes, a knife). The wagon rad/ is given two sounds che' and CHÜ umlaut, and the ideograms with two signs assigned them always raise doubts. –Ezra Pound, APPENDIX (1951), EZRA POUND’S CHINESE FRIENDS, ZHOAMING QIAN 2008. OXFORD UNIVERSITY PRESS. (Pages 213-215)

I will add ten wiki links I feel are helpful to any on-going study to build bridges between the Orient and Occident, somewhat independently, and by way of poetry, painting and Magick.

"The umlaut is a diacritic consisting of a pair of dots or lines placed over a letter. A very similar diacritic is the diaeresis or trema. When the vowel is an i, the diacritic replaces the tittle. The two diacritics are very similar in appearance, and the distinction between them is not always made. “Umlaut” is a German word roughly meaning “changed sound” or “altered sound”–wiki/umlaut.

The Chinese written character as a medium for poetry
By Ernest Francisco Fenollosa, Ezra Pound


The classic Noh theatre of Japan
By Ernest Francisco Fenollosa, Ezra Pound

Friday, February 5, 2010

CHU HYPERCUBE AND HOLOSTHESIA 2010

PLEASE VISIT CHU OVER AT SCHUDIO.CO.UK/BLOG

http://www.schudio.co.uk/blog/2010/3d-cube-tiger-beer-lucky-8/


3D CUBE at Tiger Beer Lucky 8

| posted on Jan 22 2010

Some of you may remember the cube I made, from last year. Version 1.2 is being built in a few weeks time.

In Birmingham.

This new cube will have a 3D interior, that you view through a pair of 3D glasses, as part of the Tiger Beer Lucky 8 campaign to celebrate Chinese New Year. The number 8 is considered to be a lucky charm in China, and the cube has 8 corners.

As you stand on the Sweet Spot within the cube and wear the glasses, the corners and joins will vanish out of sight, creating an illusion never witnessed before. Its the accumulation of a few techniques that I’ve been working with for some years and it was the next logical progression for my Cubic experiments. Recently an edition of only 33 prints of my new sketch ‘Cover Your Tracks’ was released in 3D too.

3D CUBE v1.2

Launch 15th February 2010 and showing for only 1 week at:

Boxxed, 104-105 Floodgate Street, Digbeth Birmingham B5 5SR.

(vistors to the 51 Degrees exhibition or the Line Steppers group show will be comforted to know its the same venue!)

(3D glasses supplied)

FLY AGARIC ADDS SOME TEXTUAL CONTEXTUAL INFO:

MARK PESCE

The primary quality of any electric medium is its inherent electroplasticity, that is, its ability to construct a range of perceivable effects. The telegraph has a binary electroplasticity, dit and dah, whereas High-Definition Television has an exceptionally broad range of possible effects. As is natural in any technological evolution, electric media have tended toward a greater range of effects, or greater electroplasticity, through time.

Roughly a decade ago, major research began on media which are both highly electroplastic and designed to produce holosthesia. This word, coined by Martens[2] has its roots in the Greek holos (whole) and aisthesia (to feel or perceive), and describes any medium which produces the perception of an event through several (or all) sensory modalities in a self-consistent manner. Immersive technologies such as virtual reality fall into this class of electroplastic media. The fundamental intent of virtual reality is to produce in the observer the perception of an event as if it had occurred in the physical world. Holosthesia is the necessary component of such a form of synthetic perception. Cyberspace, at the union of the holosthetic technology of virtual reality and communications technology can create a shared holosthetic experience.[3] It is nowhere implied that this experience will be safe.

This is an important point, if only for the following reason; within twelve months, hundreds of thousands of children will be experimenting, on a daily basis, with a highly holosthetic medium. Experimenting is the operative word; within a few days more hours will be logged inside virtual environments by these children than has been amassed by the scientific community over a decade of research. Furthermore, as our tools and technology evolve beyond their current and primitive state, our ability to orchestrate holosthetic experience will be similarly extended, and this too raises questions: not of what is possible, but rather, what is safe. For this reason, this paper will directly address the issue of safety within holosthetic environments, particularly with respect to cyberspace.

Having participated in the design and implementation of one of these "Home VR" systems (Sega Virtua VR), the author has come to a realization which relates to all research work thus far performed in the field of holosthetic technology; while careful attention has been paid to the biological aspects of such systems, to prevent adverse physiological effects, very little research or design work has been conducted on the ontological or mythological content presented by these devices. Yet these aspects are fundamental to the devices themselves; the creation of a world necessarily implies the creation of a world-view. Geoffrey Hill, in Illuminating Shadows: The Mythic Power of Film discusses cinema, the most holosthetic of our current media, in the context of mythology.

The cinema has become to the modern world the
collective cathedral of primitive participation mystique.
It is the tribal dream house of modern
civilization...Indeed, the cinema is the theater of life, the
screen of human existence casting illuminating shadows
onto the wall of tribal participation...If Marshall McLuhan
is correct in arguing that each of our media is an
extension of ourselves, and that the medium is the
message, then his argument would support the contention
that film is but an extension of our most inner and
ancient consciousness...The dark cavern of the cinema is
reminiscent of a ceremonial sweat lodge, an initiation pit,
the dark night of the soul, the belly of the fish, the
alechemical grave, or the wilderness of the night
journey...It is the baptismal font where our skepticism is
drowned in the motherly sea of awe and wonder.[4]

If these statements are true of cinema, how much more so for immersive technologies, which, beyond providing a space for the "suspension of disbelief", bind the participant to the mythology through interaction within the mythos? Cinema is the passive viewing of a mythology, cyberspace the active participation within a space that is essentially mythic. This phenomenon, although an everyday occurrence within aboriginal and "primitive" societies, is unprecedented in rational "Western" civilization. Thus far this technological development has been an unconscious enterprise, directed primarily toward entertainment, but always containing a mythic thread.

This paper, then, contains two threads, one scientific and one ontological or mythic. Like the works of William Irwin Thomson, the author will suggest the existence of a continuity between these aspects; each helps to create and sustain a particular configuration of the other.

The scientist tries to examine the "real" nature of
the photograph; he tries to get away from psychological
configuration, the meaning of image, to move down to
some other, more basic level of patterns of alternating
dots of light and dark, a world of elementary particles.
And yet what does he find there but another mental
configuration, another arrangement of psychological
meaning? If he persists in this direction long enough, the
mythological dimensions of science will become apparent
in his work, as they would if he had asked questions
about the meaning of sunlight rather than questions
about the behavior of photons.
Science wrought to its uttermost becomes
myth...But what is myth that it returns to mind even
when we would most escape it?
Forms of knowledge change as society changes.
Sometimes these changes are small and incremental; at
other times the changes are transformations of the
structures of knowledge and not merely the contents...But
this movement is not simply a linear and one-directional
shift toward increasing rationalization and
demystification; when the rational historian has come in
to take away authority from the mystical and tribal bard,
the artist has returned to create new forms of expression

to resacralize, re-enchant, remythologize.[5]


Tuesday, September 15, 2009

CHU CUBE RENDERED FOR HYPERBOLIC HEADS

The artist CHU kindly rendered images of his CUBE into fold-friendly images for me to experiment with. The results are breath taking. A huge and broad mulit-media installation space!





The chube is a room, 4 walls, a ceiling and a floor, and after decorating and chuscaping these numbers flux-chuate' depending upon where you are, where you are looking from in space/time. The form of the cube seems to be related to the average height of a humans eye technology so that distortions and 'impossible objects' can formulate in the spaces, using that eye-brain-data as a starting point. --fly.



http://www.schudio.co.uk/blog/2009/the-final-cube-in-case-you-missed-it/




The content of CHUBE are further scenario universes from the "rise of the audio components", hooking themselves into and plugging out-of the giant alphabetical words matrix: "ITS NOT BIG AND ITS NOT CLEVER." Icons of electronic culture, remix culture and audio engineering anarchis tracks, turntables, tape-loops and speakers on the loose, chased down urban pathways by cables through spherical cityscapes, chased by phantom power-leads and microphone jackers too. The electric word split as atom, electrified, the words rise and the machines whur' in a great torrent of seeing. In the cube I see no nouns, I only see verbs. - fly.








http://www.schudio.co.uk/blog/2009/images-from-the-cube/

"Complimenting the holistic systems approach, a novel spherical metaphor for multi-dimensional data visualization on the Geoscope shall be developed using PROCESSING open source programming language (www.processing.org). A spherical metaphor, or to coin a term “Spheriphor,” addresses the need for displaying data that is not necessarily geo-referenced. - http://challenge.bfi.org