Wednesday, 22 March 2017
To clarify, I am referring to what is often called the Lisbon Treaty or the Treaty of Lisbon, but actually is a consolidated version, last updated in
of two treaties: THE TREATY ON EUROPEAN UNION, AND, THE TREATY ON THE
FUNCTIONING OF THE EUROPEAN UNION. The two go together.
one of the functions of our Parliament is scrutiny of government. Both houses
do this. It is part of a healthy democracy. An unhealthy democracy does not
allow for Parliament to scrutinise government. Thus, all you people who make so
much noise about the European Union being democratic, will no doubt believe
that one of the functions of the European Parliament is scrutiny of – it would
of course be the European Commission. So how many times does the word scrutiny
appear in the above two treaties – all 400 pages plus of them?
The answer of course is – only once! And this relates to Europol. Yes that is correct, the European Parliament has no rights, duties, or obligations to undertake the scrutiny of the European Commission. I can assure you the European Commission are very happy about this, and this lack of scrutiny is one of the reasons why they are acting now increasingly on their own without approval from Member States. They are out-of-control.
All you continental Europeans, whom we are now leaving behind, are living in what is becoming a dictatorship of technocrats. The destiny of the European Union is to become a dictatorship of technocrats.
It seems that on March 29th we will be invoking, at long last, Article 50, and by the same date in 2019, perhaps earlier, we will be out of the EU, the Customs Union, and the Internal Market. I would wish you good luck, but you will need more than good luck to escape the fate that awaits you – the history of
Europe is a
history of European Unions! Why were you so foolish to believe that the present
European Union would be any different from the previous ones?
You have being duped into surrendering sovereignty to dictators in the form of the European Commission. And I speak from a position on the left, not the right, for this is another lie you have been told – people on the right and the left have come to understand this, but the left does not know what to do about it. It is a strange situation indeed when the right and the left agree with each other. But all you will hear is this constant reference to far right populism – its all European Commission and European Parliament propaganda.
The European Union is not a healthy democracy. It never will be. You will have to live once again in a continent ruled by elites – the capitalist’s version of the
USSR. And very strangely, this also
corresponds to elements of German National Socialism. I know this because I
have been studying this strange ideology. The need to do this arose during the
writing of my forthcoming book – 366.
It was shortly after a meeting of the FET Flagship Interim Evaluation Panel,
which was held in the former HQ of the Nazis’ favourite company – IG Farben –
that I ventured into this strange world, and discovered also about the
conspiracy that took place between the world of STEM, manifested in the form of
IG Farben, and the Nazis. Chillingly relevant given what happened to the
content of the FET Flagship evaluation report in the months following that meeting!
For your information below is the Article (88) from THE TREATY ON THE FUNCTIONING OF THE EUROPEAN UNION where the word scrutiny makes its solitary appearance.
1. Europol’s mission shall be to support and strengthen action by the Member States’ police authorities and other law enforcement services and their mutual cooperation in preventing and combating serious crime affecting two or more
, terrorism and
forms of crime which affect a common interest covered by a Union policy. Member
2. The European Parliament and the Council, by means of regulations adopted in accordance with the ordinary legislative procedure, shall determine Europol’s structure, operation, field of action and tasks. These tasks may include:
(a) the collection, storage, processing, analysis and exchange of information, in particular that forwarded by the authorities of the
or third countries or bodies; Member States
(b) the coordination, organisation and implementation of investigative and operational action carried out jointly with the Member States' competent authorities or in the context of joint investigative teams, where appropriate in liaison with Eurojust.
These regulations shall also lay down the procedures for scrutiny of Europol’s activities by the European Parliament, together with national Parliaments.
3. Any operational action by Europol must be carried out in liaison and in agreement with the authorities of the
or States whose territory is concerned. The application of coercive measures
shall be the exclusive responsibility of the competent national authorities. Member State
Thursday, 9 March 2017
STEM to STEAM and Integrating Higher Education in the Arts, Humanities, Sciences, Engineering, and Medicine: Is the National Academy of Sciences Being Sold Art-Science Fakes?
the National Academy of Sciences is undertaking a study that has the title IntegratingHigher Education in the Arts, Humanities, Sciences, Engineering, and Medicine.
This is indeed an interesting topic to study. I wish them well. Perhaps here in the
we might learn something that can be applied to STEM education in the UK? Or perhaps
not! I say this because the study involves the idea that goes by the name of STEM
to STEAM. People who are advocating the use of art in STEM education are having
their say, which is good, for it allows people to reflect on what exactly they
are saying and if it has any legitimacy, which is the matter that I now
Looking at the material already presented to the Expert Committee, I find that some material that falls into the category of Art-Science Fakes has already made an appearance, which is why in this blog I ask: Is the National Academy of Sciences Being Sold Art-Science Fakes?
On Christmas Day, I posted a blog with the title: Desideratafor People STARTing to STEAM. Note the verse:
“…pick your acronyms carefully, lest poetics be used to expose shallow graves, where lay foul phantoms of inaccuracies, myths and disingenuous claims, ready to lead astray unwary travellers lost in art’s romantic mist.”
Let me explain:
In 2013 I became involved at my own expense in a European Commission initiative called ICT-ART CONNECT, run by a FET-Open project called FET-ART, which made the claim that it was doing something new – artists and technologists collaborating. To be a genuine FET Open project, it would have to be doing something new, otherwise public money would be mis-spent. Having an academic upbringing, and thus dedicated to understanding the state-of-the-art before embarking on any research, I started a study to establish the state-of-the-art in this so-called new area, and found that my suspicions that it was not new were well founded. Evidently this project was not a true FET project at all, but just an attempt by artists to lay hands on STEM public funds – no critical thinking evident! And they had in this process a willing accomplice in the form of the European Commission’s DG CONNECT – no critical thinking evident there too! And I have also more recently discovered that one of the partners in the FET-ART project was subject to a fraud investigation by the European Commission, the findings of which led the European Commission to suspended all pending and future payments to the company concerned, which has now, according to the company’s own web site, ceased trading, as it was, it seems, solely dependent upon income from European Commission projects.
DG CONNECT is a long story of the failure of technocracy and now also of a State institution using art for propaganda purposes, image making, etc. A familiar tale from continental
past. Thus did they become the muse for my book that goes by the title: STARTS– Science, Technology and the Arts: The Artistic Voices that DG CONNECTsilenced.
By mid 2014 it was evident that I needed, partly for ethical reasons and partly because I was tired of the nonsense that ICT-ART CONNECT had become, to DISCONNECT from ICT-ART CONNECT. I also then added to my research into the state-of-the-art, an investigation – it is an investigation – into the reason why there is a group of artists, and some STEM people, in effect rewriting history, creating myths and half-truths, and, it would seem, telling lies. I have uncovered many examples. I will return to this matter at the end.
There must surely be words and phrases that are relevant to this. What are they?
The problem seems to be centred on a very noisy group who talk about art-science (mostly actually it is art-technology) that are part of what I have come to call the Leonardo Cult, but not uniquely so. They are characterised not just by the making of a lot of noise, but also by the making of claims that do not stand-up to close inspection. These claims have inspired the investigative journalist within me, to undertake the investigations that I mentioned above.
The nonsense of C P Snow is an example of the rubbish that these people talk. Evidently most of them have not read or understood Snow, or choose to misrepresent him. Did you know that Snow only mentions artists 4 times in three documents, yet he mentions scientists 113 times and engineers 19 times? I know this because I counted! Big data telling you something? The three documents I refer to are the 1956 New Statesman article, the 1959 Rede Lecture, and the 1963 Second Look.
Artists are supposed to be critical thinkers. This is another myth. Some artists – a few – are critical thinkers, but it seems the vast majority of those in the Leonardo Cult do not engage in critical thinking, otherwise they would have discovered that Snow had an agenda, a technocratic one, and was willing to talk any nonsense to further his agenda which he reveals in another book called Science and Government, where he praises the leadership of the Soviet Union. Snow’s belief in technocracy probably links back to
in the 1930s – a hot bed of idealist communist/socialist thinking. They were
taken in by Stalin – some people are easily fooled, especially, I have
discovered, STEM people. This is another long story, but another scientist,
also at Cambridge
in the 1930s, Conrad Waddington, sets the scene well, for he wrote a book in
which he announced that the future was totalitarian government, and that the
Soviet and Nazi totalitarian systems should be analysed! And so on. The matter
gets fuller consideration in my forthcoming book, 366 (see below).
People who know about painting in the 20th century will know that new scientific thought (particularly quantum mechanics) had an influence on art movements. The Surrealists are the most obvious case. The influence of science and technology was part of several artists’ milieu. This sometimes also led to critique of science (e.g. Wolfgang Paalen). Today there is still a group of artists – usually more interesting and quieter than the noisy lot – who still engage in critique. But generally they stay away from the STEM establishment for obvious reasons. Some of them also share my concerns about those that make all the noise! These concerns have turned out to be well founded.
One of my concerns about involving artists from the noisy Leonardo Sect in STEM education is that they will just perpetuate the myths and misunderstanding that surround Snow, and contribute to the ignorance that already stalks the domain of STEM – people who know a lot about very little. Whereas, I would suggest, a social scientist might well use the case of Snow as an exercise in critical thinking and writing, showing the importance of not accepting what you are told, of using original source material, of extending the search to other material, and of developing arguments based on this material. I learned to do this by working with social scientist, not artists. Evidently C P Snow was also ignorant of the social sciences, for which he had to make an apology in the Second Look. His ignorance on this matter is staggering, but not surprising, because, as he said himself: “I am the prisoner of my English upbringing, conditioned to be suspicious of any but the established intellectual disciplines, unreservedly at home only with the hard subjects.” The same ignorance is evident in DG CONNECT – hence STARTS!
If you care to look in the documentation published so far by the National Academy of Sciences on their web site, there is in a document pga_175504.pdf available on the link called Program Book for the Committee Meeting held July 2016. In this document there is reference to a research paper called Arts Foster Scientific Success. Do they?
I came across this particular paper in 2016 when I was working on a new book (366 – A Scriptovisual Composition Unknown). My initial reaction to this paper was that the research method is flawed because it is based on biased material (obituary notices, biographies, autobiographies, and biographical memoirs) and the bias inherent in this material, and possibly also the bias on the part of the researchers, has not been taken into account. Social Scientists will understand what I am talking about. On checking (I have learned that this is essential) some of the reported facts, I found several errors (inaccuracies/biased statements/mis-quotes?):
First, the Royal Society is not a membership based organisation. It is an endowed society that elects eminent people from the world of STEM to the status of Fellow. A minor error perhaps, but it illustrates the lack of rigour that permeates the paper.
Second, there is in the paper a Table (No. 2) with the title: Scientists Who Publicly Exhibited and/or Sold Visual Art or Sculpture, Published Works of Fiction, or Publicly Performed Musical Pieces. In this table CP Snow is listed (as someone who published works of fiction) followed by (RS), indicating that he was, (according to the paper) a member(!) of the Royal Society. I suppose this means Fellow of the Royal Society as there are no members of the Royal Society, and becoming a Fellow of the Royal Society is a mark of outstanding scientific success.
I checked the List of Fellows of the Royal Society 1660 – 2007. This is easy enough to do as it is in the public domain and available on the Royal Society’s web site. C P Snow’s name does not appear. This is because he never made any contribution to science to warrant election to fellowship. Actually the contrary applies – he was a failed scientist who gave up science in the 1930s. The reasons for this relate to the publication of (at the time) widely celebrated scientific results that had to be withdrawn because they were wrong. This is a matter of historical record, which also shows that C P Snow then pursued a career as a civil servant and novelist, later becoming a minister in a Labour Government. So he was not a scientist with an arts avocation and arts did not foster his scientific success, because he had no success. Probably he was a novelist with a science avocation. Already you see that some of the evidence for the argument that arts foster scientific success is flawed. But there is more!
Conrad Waddington’s name also appears in this Table 2. He was a Fellow of the Royal Society, but, having examined the material that was used in the research, I can find no evidence that he was an artist who publicly exhibited or sold visual art or sculpture as the Table states. I searched the biographical memoir of Waddington that was published in the Royal Society’s Biographical Memoirs of Fellows of the Royal Society (Vol 23, Nov 1977, pp 575-622). I looked electronically for the word painter or painters. There is no reference to the word painter being applied to Waddington, just the word painters, as in other people, not Waddington. The word artist also appears several times in the biographical memoir, but not with reference to Waddington.
Waddington did write a book however: Behind Appearance. It is a book about the relationship between painting and science in the 20th century. It is not though, as is stated in the paper Arts Foster Scientific Success, linked to the idea of “that which has not been drawn has not been seen.” Neither does Waddington, as is reported in the National Academy of Sciences document pga_175504.pdf, “assert(ed) that the hands-on requirements of science and art profoundly connect(ed) the two domains.” The text from Waddington’s book that appears in pga_175504.pdf, is significantly truncated. It is part of a very long argument in Waddington’s book, extending over 35 pages, that deals with the characteristics of the new painting, e.g. Abstract Expressionism. This quoted and truncated text is part of a quite long sub-section of that 35 page long argument, that is dealing with the matter of gesture and calligraphy, in the context of the new art. The text in question starts: “There is a peculiar affinity, but also an important difference, between the experimental scientists and the painter in their experience of coaxing parts of the material world …” You will note that “but also an important difference” has been excluded from the quote appearing in pga_175504.pdf.
Waddington’s book is actually a very well researched piece of work, and in it Waddington demonstrates that there is no clear or simple relationship between the paintings he addresses and scientific thought, and thus no clear conclusions can be drawn. This is because the relationship is in fact a very complex one, as anyone who understands how artists think would know from knowledge and experience. This well researched piece of work also stands in sharp contrast with what scientists today produce. I will return to the matter of Erik R Kandel and Arthur I Miller later.
In the paper Arts Foster Scientific Success there is another quote of Waddington, this time from a different book with the title Biology and the History of the Future. The paper says that: “For Waddington, understanding how art was made was a way to understand his own field of embryology, because, ‘an art object is always an instruction, to do or to experience, not a piece of information; and living things are organised instructions, not organised information.’ What Waddington actually said was: “Your silence, Cage, is an instruction to listen. An art object is always an instruction, to do or to experience, not a piece of information; and living things are organised instructions, not organised information.” This is actually part of a dialog with John Cage, and others, about The End of Faustian Man and the Limits to Progress and in this there is discussion about silence. This is part of a discussion with the title Towards a Post-Industrial World. If you think that the statement “for Waddington understanding how art was made was a way to understand his own field of embryology,” is far removed from the content of the discussion reported in Biology and the History of the Future, you are right – there is no connection.
The name Richard Feynman also appears in Table 2 of Arts Foster Scientific Success. I have yet to fully research Feynman. It is known that he did engage in the visual arts, but so far, what I have discovered is that he did so later in life, after he had become a successful scientist. If this is the case then art did not foster his scientific success! Perhaps science fostered his artistic success? Feynman also states in the book Surely You’re Joking Mr Feynman, that some artists are fakes. This is true! What would he have said about modern STEM people involved with the arts?
All of the above documents are in the public domain so can be checked. I wonder if the National Academy of Sciences are checking?
Is the paper Arts Foster Scientific Success just an isolated case? Sadly no! The European Commission and the STARTS initiative is a gold mine of nonsense, inaccurate statements, half-truths, falsehoods, and so forth. Watch any of the online recordings of the discussion sessions that have been held – no critical thinking evident – and they leave one asking this question: what illegal substances did they all take that provided the stimulus to spend 45-60 minute talking utter nonsense? Or is it the intoxicating aroma of money driving people to START talking nonsense?
There is more to come too in this rather stupid STARTS initiative which is more like a circus act – of clowns! Soon the affects of VERTIGO will be felt, and sensations of whirling and loss of balance, associated particularly with looking down from a great height, way out of touch with reality, will be felt, as organisations like the V&A in London, START talking nonsense too. Did I not say that people should pick their acronyms carefully lest poetics be used to expose shallow graves, where lay foul phantoms of inaccuracies, myths and disingenuous claims, ready to lead astray unwary travellers lost in art’s romantic mist? Expect much of this, as the giddiness of VERTIGO affects DISCONNECTED minds.
And what of Leonardo? Once just an artist and an engineer (but not in the modern sense), because painting went together with engineering as part of the mechanical arts, he has become not just an artist and engineer, but also a scientist, a mathematician, an architect, an anatomist, an inventor, a designer, and (why not add something else as well?). Why is this so? Is it because new convincing evidence has come to light which proves the case? Or are there other reasons why history is being rewritten? They say that no one like Leonardo has ever existed, not before or since. Perhaps this is because this Leonardo is a myth. What next then for Leonardo? Perhaps we will hear about his miracles – how he healed the sick, walked on water, fed the 5000, raised people from the dead? Perhaps soon there will be a meeting of the Leonard Cult to consider and decide upon his divinity?
This now brings me back to Kandel and Miller! At this moment in time, as I finish work on 366, in which these two characters make a brief appearance, I begin to turn my attention to my next work which will be called Art-Science Fakes: An Epistolary Tale of Scientific Reduction to Ignorance. This is what we are now seeing – a scientific reduction to ignorance. Surely you did not think that this would go unnoticed and that that you would not become the subject of artistic enquiry? You can see what I have done to the European Commission’s DG CONNECT and their art-science lovers. My alteration, as I call it in the Preface to the book about STARTS and the artistic voices that DG CONNECT silenced, is just a warm-up exercise. Now that I wield both the pen and the brush simultaneously, who can tell what will come next! The answer is 366. Then will come Art-Science Fakes: An Epistolary Tale of Scientific Reduction to Ignorance. Then the world will START to understand just what is going on and why. Something to do with what John Berger stated in …
And then too, those who learn that this STARTS nonsense is a worst practice case study, will begin to understand that they can use STARTS as a pointer towards what not to do, and then to do something different – something that DG CONNECT will not be able to do. We are back now to my state-of-the-art study. Go armed with knowledge, and you will begin to see what needs to be done – not STARTS for sure, which will, in the end, just have to contribute further to that growing collection of art-science fakes. Then shall the world laugh at the ignorance, incompetence and arrogance of DG CONNECT, for their true nature will be revealed to those who care to see – the Chinese for example! Are you listening to me in that ancient culture that became technologically advanced while Europe in medieval mud dwelt, in that longest ever continuously existing civilisation, in that country whose destiny is to eclipse the Europe Union economically, technologically and scientifically, in that city known as Beijing? Elsewhere too? Perhaps even in
Washington DC, where fiduciary responsibilities and due diligence
should, I would expect, be taken far more seriously than in that little city of
golden stars, sitting in a rainy country called Belgium.
Tuesday, 7 March 2017
The history of
Europe is a history
of European Unions! Why have people developed the idea that the latest European
Union is going to be any different from the others?
On March 1st the European Commission published its vision for the future of the European Union. It generously announced that it is going to allow the people of
discuss the future of the European Union – but only on its terms and
Here are some of the names of European Unions of various geographical size and coverage: European Union; Soviet European Union; Third Reich European Union; Austro-Hungarian European Union; Imperial German European Union; Napoleonic European Union; Holy Roman Empire European Union; French Imperial European Union; Spanish Imperial European Union; Church of Rome European Union; Roman Empire European Union. You continental Europeans sure love your European Unions!
As for those terms and conditions – on no account will you be allowed to discuss any alternatives to the European Union. As for democracy – forget it. You will have to live with the rubber-stamping Supreme Soviet – sorry we meant to say European Parliament. And that army and police force that people (during the
EU Referendum) denied would come into being – that’s your future, along with a
common criminal justice system. Now what was it that I said in one on my blogs
in 2016 about what will happen when the European Commission have a police force
and an army? Oh, and the use of soft power in no longer seen as adequate – so
we are back once more to use of hard power. This is one of the reasons why the
European Commission want an army and a police force. The other is to suppress
all opposition. This, strangely, is hinted at as well, in the rather sinister
ending to Scenario 5. What is a sovereign State, based on a sham
democracy, run by people engaging in dangerous fantasies and delusions, with an
army and a police force, going to do with all those people who feel that they
have been alienated because the European Union lacks legitimacy and has taken
too much power away from national authorities? I refer you to past European
Unions for answers to this question.
What will make the different are, of course, those world events, as I indicated in my last blog. “It is only a temporary measure,” they will say. They will also engage in denial. They are well practiced at this with their exercises in misleading ministers and parliaments – all the ministers and parliaments of the Member States, as well as the people of
The European Parliament does not count as they are only there to create an
impression of democracy – a deception that most people have accepted. They
should however read the Treaty on the
Functioning of the European Union, which of course they are not going to
do. Thus they are easy to manipulate, and thinking they are not easy to
manipulate, which people do think, makes their manipulation easier. Why, after
all, do businesses spend so much money on advertising and marketing? They would
not do it if it did not work!
If you read the European Commission’s vision document carefully, which is very cleverly crafted (manipulative propaganda), the intention is to complete the discussion process in time for the European Parliament elections in 2019, by which time the
UK will be outside the European
Union, the Customs Union, and the Internal Market. Now why these elections I
wonder? Is it because they plan to use the 2019 elections for the European
Parliament to claim that their plans have the support of the people of
So Scenario 5! Tolkien had the right words to described Scenario 5 – the future for continental Europeans, which is the Union of Subservient State Republics (USSR):
“One Ring to rule them all, One Ring to find them,
One Ring to bring them all and in the darkness bind them.
where the Shadows lie.” Land of Mordor
One Ring to bring them all and in the darkness bind them.
Are the people of continental
going to be duped – tricked – into allowing the European Commission to create
another one of those European Unions? It seems that they are! You have
obviously learned nothing from your past.
You are crazy Paul! Ah, if only I was! I went to
Brussels for a reason. I
know you are not going to listen. You never do. Thus, do I take up the pen and
the brush, for they are far mightier than the European Commission!
Now do I walk with you, fair lady with the beautiful soul, to the edge of doom! Have you learned yet how to listen to me?
Sunday, 26 February 2017
In 2016, while writing the first draft of my forthcoming book, 366, I came across a book called The Rotten Heart of Europe. It’s about the European Commission, written by a European Commission employee, who became an ex-European Commission employee for writing the book!
Now it is 17 February 2017 and I have received an email announcing the publication by the European Commission, of the FET Flagship Interim Evaluation Report – the report which I spent 2016 writing with the FET Flagship evaluation panel. The email carries the header The FET Flagships receive positive evaluation in their journey towards ground-breaking innovation. It is of course a propaganda message – that’s what the European Commission produces these days.
Moving forward in time, it is now 22 February and a journalist has published a blog with the title: Human Brain Project: Bureaucratic Success Despite Scientific Failure.
Back in time now to 17 February and after downloading the pdf version of the report in the link in the propaganda email, I visit the Participant Portal, login into my entry in the experts’ database where I then remove what I can of my CV, replacing the content with the statement information removed. I then login to my domain name control panel and delete the email that is used as my access to the European Commission’s electronic tools, and the one by which official requests to undertake tasks for the European Commission are sent to me.
Thus now do I walk away from the European Commission, and in doing so I am implementing an idea that first appeared in my mind while sitting in a consensus meeting, in
in 2011. It was the proposal evaluation exercise that led to the six pilot
projects from which the two Flagship projects – Graphene and the Human Brain
Project – were eventually selected for funding. But I am not abandoning the peoples of Continental Europe to
the fate that awaits them!
The European Court of Auditors (ECA) is one of several European Institutions. It carries out audits of the European Commission. It has several types of audit. One of them is called a performance audit. According to the ECA web site this type of audit asks questions such as: Do the EU funds provide value for money? Have the funds used been kept to a minimum (economy)? Have the results been achieved with the fewest possible resources (efficiency)? Have spending or policy objectives been met (effectiveness)? Perhaps it might also turn over stones like STARTS, and see exposed there the waste of public money that STARTS is, and the disingenuous claims, ignorance, etc, upon which it is founded by people in the European Commission who think that they can spend public money on their image making activities – propaganda – and that no one will see because? Good question! Why will no one see?
In 2013 I was the independent observer for the Marie Curie ITN evaluation. I have often wondered which report was submitted to the Programme Committee – the one that I wrote detailing the catalogue of avoidable and damaging events that took place during the evaluation or the one that the Research Executive Agency (REA) wrote covering up this disaster? This latter report and the cover-up I refused to be party to.
Here are some words that I have, since I first became involved with EC research projects in 1986, come to associate with the European Commission: technocracy, incompetence, corruption, ignorance, delusion, cover-up, manipulation, deception, illusion, fantasy, propaganda, elitism, contempt, ideology, scientism, …
Here is a spokesperson for the German Federal Government reading from a most unusual document to find in the public domain – Position Paper of the Federal Government on the Horizon 2020 Interim Evaluation:
“In many instances the discussions on the work programme are inadequate. Drafts of the work programme are often made available without sufficient notice in spite of the principle of comitology which stipulates that drafts must be made available 14 days before the Programme Committee meeting. The scope and quality of the data provided is also often inadequate. This means that the Programme Committee cannot fulfil its function as a counselling and control body. The coordination of Member States’ activities with activities at EU level cannot therefore be guaranteed.”
I recall writing, in the FET Flagships Interim Evaluation report, a very clear and strong statement relating to the same matter as the German spokesperson just raised, about how the Programme Committees are not provided with satisfactory information about the FET Flagships. Is this strong and clear statement still there?
Here is an extract from one of my previous blogs, the one that goes by the title Desiderata for People STARTing to STEAM:
“START by learning about DG CONNECT’s former European Commissioner – the one that could be said to be responsible for ICT ART CONNECT – who now finds herself investigated for not declaring the holding, while in office, of a directorship in an offshore company; a clear contravention of conditions laid down in the Treaty on the Functioning of the European Union. START too by learning of OLAF’s investigation into alleged fraud by the company that led the ICT ART CONNECT project. More revelations will no doubt in time come, when the world learns of the artistic voices that DG CONNECT silenced; so reflect before STARTing to STEAM, that DG CONNECT’s woes might, one day, be yours too.”
Oh yes – STARTS! Science Technology and the Arts: The Artistic Voices that DG CONNECT Silenced. See the list of words that I provided above.
Here is that German Federal Government spokesperson again, reading from that very unusual report:
“On the matter of generating European Added Value, it remains to be shown whether and with what outcome the EU has been able to make substantial progress through concerted action. We are now seeing a growing trend towards autonomous action on the part of the Commission. The European Commission must not set political agendas without consulting the Member States.”
Here now is Sir Walter Scott reading some lines from his play Marmion:
“Oh! What a tangled web we weave, when first we practice to deceive.”
Do you know what mushroom strategy is? I first heard this term many decades ago, in connection with what a company called ICI, I was told, used to do to its employees: keep people in the dark and shovel lots of horse manure on them!
Now I will read some words from the Treaty on European Union:
Union is founded on
the values of respect for human dignity, freedom, democracy, equality, the rule
of law and respect for human rights, including the rights of persons belonging
to minorities. These values are common to the Member States in a society in
which pluralism, non-discrimination, tolerance, justice, solidarity and
equality between women and men prevail.”
The European Commission does not comply with this article, which is why, many years from now, people will look at what the European Commission did, and be surprised that it was possible, given what I have just read, to which will come the reply that, these types of words were also written into the constitution of the Union of Soviet Socialist Republics, which too had an elected Parliament, which just rubber stamped, what the USSR's version of the European Commission had decided to do.
Thus in Continental Europe did the Union of Subservient State Republics come to be! The process has already STARTed as the German Federal Government spokesperson has just indicated. Back to STARTS again – soon, I think, I will START work on a new book called Art-Science Fakes: An Epistolary Tale of Scientific Reduction to Ignorance. This will be a story about how STEM people, including those in the European Commission, as well as some artists, are rewriting art’s history to make it fit with their ideology and the rule of science and reason, which you will find is what the new USSR will be based upon. Thus will the people of Continental Europe once more fall under the tyranny of perverse ideology and dogma! And the rewriting of art’s history is an attempt by this new ruling class in waiting, to use art to legitimise their forthcoming rule, and the crimes that they will reason are necessary for the sake of the rule of science and reason.
I have seen the future of the peoples of Continental Europe, and it is your past!
And what exactly will take place that will lead the European Commission to do the things that it is going to do? The answer is very simple; what has always been the case – world events! Some of these you have already witnessed. More will follow.
Thus, now disconnected from the European Commission, and soon to be outside the EU, the Customs Union, and the Internal Market, will I walk with you to the edge of doom! Have you learned yet how to listen to me, fair lady with the beautiful soul, for I speak to you and to you alone?
Sunday, 25 December 2016
On Yasmin, they do discuss, if STEM to STEAM, is but hot air, all moist, and probably cloudy too! Thus to this rattling about in non-viscous cyberspace, we now turn, to add a very humble creation of poetic kind. A very delightful title too, we formed, for this strange way of knowing, through performing; a process, you may note this time, is founded in adapting. We call our strange rendition: Desiderata for People STARTing to STEAM.
Desiderata for People STARTing to STEAM
Go placidly amid the hissing noise of STEAM, and remember what peace there may be in silence for it is hard to find in STARTS and STEAM. As far as possible, without surrender, be on good terms with all persons, even those hissing STEAM and those STARTing to talk nonsense.
Speak your truth quietly and clearly; and listen to others, even those caught up in the ideologies of STARTS and STEAM; they too have their story, even though it is often quite empty. But pick your acronyms carefully, lest poetics be used to expose shallow graves, where lay foul phantoms of inaccuracies, myths and disingenuous claims, ready to lead astray unwary travellers lost in art’s romantic mist.
Avoid loud noisy artists and STEM people STARTing to STEAM; they are vexatious to the spirit. If you compare yourself with others, you may find yourself wondering what lesser god STARTers and STEAMers worship.
Enjoy your achievements as well as your plans. Keep interested in your own career, however humble; it is a real possession in the changing fortunes of time, especially now that STARTS and STEAM are in fashion; these are but a passing interest of the grazing herd, so your humble achievements may in the end outshine all that STARTS and STEAMS.
Exercise caution in your business affairs, for the world is full of trickery; especially when STEAM clouds the true nature of STARTS intentions. But let this not blind you to what virtue there is; many persons strive for high ideals, and everywhere life is full of heroism. Even in STEAM there may be a few – a very few – golden threads.
Be yourself, especially, as others most often are not. Do not feign affection for STEM, especially now its destructive nature is revealed. Neither be totally cynical about art-science and art-technology lovers; for in the face of all aridity and disenchantment love is as perennial as the grass, even the naïve sort that is most of art-science and art-technology. Neither of these actually exists though, for there is only art, which is always made with whatever is at hand – paint, data, glass, code, stone, electronic junk, toys, cables, books, photographs …
START by learning about DG CONNECT’s former European Commissioner – the one that could be said to be responsible for ICT ART CONNECT – who now finds herself investigated for not declaring the holding, while in office, of a directorship in an offshore company; a clear contravention of conditions laid down in the Treaty of the Functioning of the European Union. START too by learning of OLAF’s investigation into alleged fraud by the company that led the ICT ART CONNECT project. More revelations will no doubt in time come, when the world learns of the artistic voices that DG CONNECT silenced; so reflect before STARTing to STEAM, that DG CONNECT’s woes might, one day, be yours too.
Take kindly the counsel of the years, gracefully accepting that inexperience and the pursuit of fortune and glory means that much that is proclaimed as new by those STARTing to STEAM will be found in old reports, papers and books. Beware of bodies whose job it is to scrutinise public expenditure – they may ask for a refund of public money spent just reinventing what is in these aging publications.
Nurture strength of spirit to shield you in the sudden misfortune of having to put up with empty-headed people who START talking nonsense. But do not distress yourself with dark imaginings. Many fears are born of fatigue and loneliness, and soon the empty-headed ones will be gone, as no sooner will they START to STEAM, will they run out of STEAM.
Beyond a wholesome discipline, be gentle with yourself and ignore most of this STEAMing. You are a child of the universe no less than the trees and the stars; you have a right to be here, and pursue a less noisy, more thoughtful course away from the hissing sounds of STEAM.
And whether or not it is clear to you, no doubt the universe is unfolding as it should. Therefore be at peace with God, whatever you conceive Him to be, for probably God has inflicted STARTS and STEAM on those artists and STEM people who do now so much noise make, as way of punishment for sins committed in the past – poetic justice so to speak!
And whatever your labours and aspirations, in the noisy confusion of STEAM, keep peace in your soul. With all the sham, drudgery and broken dreams of STARTS and STEAM, it is still a beautiful world. Be cheerful. Strive to be happy, and stay away from those noisy people STARTing to hiss STEAM.
Thanks to Max Ehrmann who wrote the original Desiderata. And what aesthetic in the above Desiderata for People STARTing to STEAM is to be found? Most certainly playfulness is woven into the words, but what else, you may wonder. Is there more? Can you not see? We leave you to wonder and to discover for yourself, for we are not in the business of being totally unambiguous!
Sunday, 21 August 2016
Thus begins the beginning of that which I spoke in time recent past, for it seems now I am ready to begin, and thus do I begin …
I stand in Roundhouse – a kind of Globe – which is, as informing name tells, a circular place, where space is bent into curved form, and lying within there sits for some moments in time, another round construction known by the name of (Ron Arad’s) Curtain Call, creating an inner space and an outer one too, within the curved space that I have just entered into. And what appears is what you want to appear, made so by the projecting power of technology which is a means of displaying creation and seeing sounds, as you will soon, by these revealing words, find.
Kima Wheel is a wave from the imagination that comes forth specifically to fall upon the 360 degrees of canvas called Curtain Call, which unlike a normal curtain is not a barrier to freedom of movement of performers or audience, who move in time and space as this is not a strict classical Ancient Greek separation. The wave this time is a wheel of poetry, and comes by virtue of Anelema Group, which one might say, is a different way of looking at that which passes through our lives daily, often unnoticed, but without which there could be no life at all, which, if you care to see, is more than just science and technology, or art made with such.
Thus now I have set forth the scene in kind of Prologue form, befitting of the theatrical context which now before you will unfold.
It’s about emotions it seems – feelings, all very subjective and quite a contrast to most art-science and art-technology, being as they often are, though few can see, but manifestations of a certain strand of Enlightenment thinking, the stinking corpse of which lies rotting all about. Yet Enlightened minds sense only reek, and do not see that they are the corpse that decays, which is giving off the decomposing smell.
In the world – another Globe – here and there, come glimpses of a new and different age slowly taking form, being illuminated by light from eastern directions originating – some dare to call it the Age of Tao. That’s me, referring to myself. I am inclined to be self-referencing at times.
But there must surely be others as well, who can see that
Europe’s time – the age of the West – is done, and to go
with it too, must be those Abrahamic secular beliefs – that’s Western
Capitalism and Western Science and Technology, if you are wondering. Western
Communism is already just about gone, and what goes next, is the rest, and by
my hand will their demise be hastened, and thus will strange beliefs be despatched
to the past where they do belong. ’Tis about the power of the pen, which
becomes even more powerful when combined with other forms of expression as you will see anon!
Now is the beginning of the age of the universality of humankind. So no more cultural colonialism please – are your listening you people in Brussels, Washington DC and all those other cities of Ancient Rome and Ancient Greece, where you still foolishly pursue those dated dreams of making all the world European? How does the thought of a Taoist Science and Technology make you feel? In the East there is the West, and in the West there is the East. It’s not a binary, or a duality, but a unity – a unity of opposites, which your fragmented minds cannot easily digest. That goes for art-science and art-technology too, which are ever so binary because of the dominance of Western minds that see only such separations. Everything is connected – can’t you see?
Where to look is the empty space so to speak, waiting to be filled by those who dare to pursue a different dream. You will also find that what comes forth will be very Kantian too! That’s another dimension to it. ’Tis a very beautiful heresy built on a different foundation to that which Western minds construct.
Back to the curved space and then comes the moment – it’s the aesthetics of participation – so the audience becomes, for a time, the creating force – let’s not here bother with the rhetoric and the postmodern ideology for this is already history, and I am very much alive. This is the moment to put the world back together again in different form, and so do I raise from the dead, theory too. To see, to know, to understand, to find something new, and in doing so to become different people – these are the goals that I pursue.
Continuing – I am back to the curved space again: hesitantly at first, I begin to speak those words that come from my own shaping hand and with eye I see, images formed, while being immersed in my own sound, and that of others too. This imaging of sound I discovered before appearing is made possible by virtue of technology, of neural networks, produced from research of the type that leads to PhDs. And the emotional moment is then transformed, and cognitive becomes, as I know that once again I am creating from words, visual images, for whatever reason do I in this strange scriptovisual process participate. It’s something to do with morphogenesis rather than morphostasis, if to cybernetic concepts you are inclined.
And then I am lost in my own world of the mind, afterwards thinking: was that the intention or is this serendipitous action? Interactive art is a place where the unexpected sometimes happens. To be or not to be that is the question, whether it is better to be highly scripted, or very open, or somewhere in between? It is after all, just like a play – Act 1, Scene 1, enters …(but not necessarily linear). It all depends upon what you want to achieve is the answer to the question.
Then I want a pen and desk and to start exploring, but this is not the venue for such things, yet evidently it becomes possible to compose images with words, hence my intuitions are confirmed, for: in the beginning was the image, and from the image came forth the word, and to image doth the word return. That’s what the image called Genesis in Reverse (on the homepage of my web site) is saying. But why is the question? As I said it’s something to do with morphogenesis and the making of something transformational – most art-science and art-technology is not, but I keep looking for something that might be, or have the potential for such. It is a long, long quest. Did I find sight of journey’s end in Kima? Only time will tell, but Kima in its many different manifestations, bringing together at different times, music, performance, immersion, dance, poetry, technology, sound, image and synaesthesia, does make for something very different to the normal explorations of an art space that is now at least six decades old. And being so old it has become a source of much dissatisfaction within me, as indeed has literature which is even older – thus another reason deep within for the quest that I have embarked upon.
Thus then finding that I am not anymore able to compose, I take on a different role, exploring through vicarious interaction that which lies around. Then it is done and I am gone to another place in London, where some conceptual art from the past lies waiting to be explored, and there I do find, more information about the image and the word combined – another serendipitous moment in time.
Intriguing possibilities is the ending phrase that comes forth from of this waltzing encounter with word and image, bound together in ways it seems that still lie unseen.
Enter Marshall McLuhan and Paul.
PAUL: Where DG CONNECT not listening? No they were not, for it is the funding of art that thou should do, not the development of unconventional and compelling products with under-funded afterthoughts, otherwise known as artists, in tow. And you get what you get, but you can get some interesting things if you know how to create the infrastructure to enable this. It seems I do and DG CONNECT do not, which is one of the reasons I engaged in critiquing DG CONNECT and what they did, and much more as well.
PAUL: And be it true that this thing that we now call STEM, that too is media?
MARSHALL: It be true as any truth be true. Art-science and art-technology too, for these are media as well. Better look therefore and see beyond the numb stance.
PAUL: We do.
JULIA: Forgive us if we seem to be, that which you do not wish us to be, but the world of STEM, and its funding of art, are problems writ large for those who wish to see, for they have their own agenda grounded in morphostasis, and silent narratives too, which we are able to hear, for we walked among them unseen, and in preparation, spent much time while growing up, learning how to see – and what we see are little children playing in the rye, blindly unaware that they dance on the edge of doom. Now they dance with artists too. Better catch them lest they fall. So back to morphogenesis again! Thus we engage in a beautiful heresy and bid welcome to a time that surely must be what humanity will come to see as the inevitable turning, for no age lasts for an eternity.
Sunday, 14 August 2016
My first blog was published on 7th July 2013. Since that date I have published a blog every Sunday without missing one entry. This constitutes a lot of writing, but the reasons that lay behind this activity have now become clear to me, and there is nothing further to be gained from this exercise. It is time to move on. Hence I will no longer be publishing a weekly blog. Instead I will only write blog entries when I feel the urge to do so. So now I am in the mode of producing occasional blogs.
This is the end. This is the beginning!