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Sunday, 21 May 2017

STARTS VERTIGO’s Surrealist Tales of Faustian Pacts with the Devil that is DG CONNECT

I heard from afar a great din, and on moving to investigate found many noisy artists, all lined up, passing through a gate above which was cast, in now rusting iron, adapted words from a long forgotten imperial decree: No Restriction to Artistic Freedom Will Here be Found.

Standing now close by, I watched as this motley crew shuffled past, and spied within the camp, a man, a guard, whose name was oft spoken, and from the speaking of, I learned this man’s name – and the name was Jury. And while each of them, the artists that is, approached this Jury, he divided them; some he sent to his left, and others to his right.

Of those who to the left did go, they disappeared from view, and I never saw them again. At later time, having enquired in another place of their fate, I discovered that through a portal they had been despatched, to find themselves – having already being put to much inconvenience – deposited unceremoniously by the side of a road in some far away and remote place, from which they then had to, with much trouble, find their way home, at no cost to the devil known as DG CONNECT.

Of those who to the right did march, a much worse fate did unfold! First each, on passing by rubbish bins, had to deposit there in the first, something that is known as artistic integrity, and in a second one, their critical independence. Each then was told to strip, and to don a special uniform, upon which was written in stripes, many times over: artist to be exploited in any way that takes your whim.

Then into a hellish chamber, full of fire and smoke they did proceed to have their nostrils filled with a technocratic sulphurous reek along with the rotting smell of evil corruption – of the City of the Golden Stars kind. And to a table, behind which stood the all powerful VERTIGO – demigod of art-science beliefs – each one was then led, to sign, in their own blood, an irreversible pack with the devil known as DG CONNECT. And once thus tied, no escape was discovered to be possible, for they had to their new masters now been bound – including their lives for ever more, for the brand of the devil that is DG CONNECT was indelibly, on their foreheads, burned.

No sooner was the signature complete – while the blood was still wet – did, from it seems out of thin air, a ball and chain appear, which by some unseen force, locked itself upon the ankles of these poor unfortunate new handmaidens. Then the hand of VERTIGO did point towards strange holes in the walls, which looked very much like prison cells, above which strange and meaningless names there were carved: AMORE, CUPIDO, Magic Shoes, and other quite ridiculous words created by STEM, another demigod of the very peculiar, art-science secular religion, and the even stranger, new, extremist and fundamentalist sect that had styled itself – STARTS. Then VERTIGO did speak these words to each of his victims: “go inside and design.”

Each of the poor shackled prisoners then towards the holes did make their way, and when within a metre or so of the entrance, a chain did miraculously shoot forth and attach itself to the approaching artist’s neck, dragging the poor creature into the cell to face whatever tortures and torment were there waiting for them to endure. And from within came cries such as: “you will do this” and “you will do that” and “you’re here as a slave to serve the project so you do what we want”, and “you must disseminate and communicate”, and “you’re here to make us more creative” and “what rights are those, you signed the pact; your art belongs to you, but your ideas do not, and we will use your art how we think fit, and you have no control over this.”

From some cells the sounds of great arguments did it occasionally issue forth, as a few artists struggled to regain their independence and dignity, but then I noticed that the demigod VERTIGO had, to absolute power evolved, and when the heat of such arguments did grow, VERTIGO intervened and silenced the dissident artists, transporting them into exile to a place called Void, where they did then become entangled in complex and distressful legal matters requiring expertise that no normal artist could afford. And when they tried to speak out, to condemn, to warn, no sounds came forth from their mouths, for into these had been inserted a strange device called a Confidentiality Clause. Thus did DG CONNECT once again silence the voices of artists and punish those who dissented, in a manner in keeping with very European traditions and past European Unions. And in the doing of DG CONNECT’s dirty work, VERTIGO – DG CONNECT’s faithful handmaiden – did demonstrate that reassuring siren words such as sympathetic and sensitive treatment of the arts are but empty promises, especially when arrogant and elitist bureaucrats take charge. Reality is indeed a hard and cruel beast, as indeed is DG CONNECT!

Observing the nightmare that is STARTS unfolding before my eyes, feeling sickened and saddened by what I had seen, I could no more watch, so I turned away to depart, thankful that, from these Detrimental Research Practices (as the National Academy of Sciences in the US calls them), I did, long ago, DISCONNECT. It was then I noticed a European Commission Commissar from the devil that is DG CONNECT, observing smugly all that transpired, being somewhat pleased that to the service of this devil, artists and their art had been corrupted in the name of another demigod – neoliberalism. Farwell l’exception culturelle!

On this leaving I did also recall, a phrase that to Google was once applied, for they too did artistic freedoms restrict, in that which they called DevArt: the exploitation of artists is evil! It is indeed! But when Faustian Packs with DG CONNECT people do make, that they should have been tricked, should surely come as no surprise at all, for DG CONNECT are the most corrupted technocrats of all, and as STARTS reveals, and DG CONNECT’s very public domain comments prove, they are also technocrats of the most ignorant kind. On the other hand, as our extensive researches have revealed, some artists, ardent disciples of the art-science secular religion, engage in fabrications too – as a matter of course – so good bedfellows such will make, for DG CONNECT is the most highly skilled deceiver of them all. Thus do both parties in this sad tale get what they deserve – each other! Thus too does that term Research Integrity in the City of the Golden Stars, become as meaningless as the empty-headed whims upon which STARTS is based. We are back to the matter of art-science fakes once again!

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This I could see and did predict, writing such, long before STARTS did START. Thus the world now begins to see the European Commission, and DG CONNECT, for what they are, and thus does the world learn how not to bring art into research and innovation processes. Interested observers in China take note, for here is the worst practice case study that is STARTS from which you can, at European Union Taxpayer’s expense, learn, and in doing so, also add to DG CONNECT’s humiliation. Here too learn about the factors which render technocracy, and Global Systems Science, yet more of those dangerous fantasies for which past European Unions are renowned! Time to stop them in their tracks, before embryonic monsters seeking human flesh, consume us all, for in the City of the Golden Stars the conditions for their nourishment and growth have now come into existence once again. And it STARTS with STARTS – first take control of art and restrict artistic freedoms!

When will Europeans learn, that their time is done, that the future will not be European? Now is the Age of the Tao. But Prometheus just sits on his rock, to which he is forever, it seems, bound, by chains of the invisible and silent kind. His artist in residence wears those very same chains too. Thus does the past become the future! Time is a singularity.

STARTS weaving the art-science tangled web …

Sunday, 23 April 2017

STEM to STEAM we STARTS to wonder, STEM to STEAM what do you mean?

And to the matter of 366 I now turn! Below an extract, reformatted for the purpose at hand:

Act 1, Scene 1

Enter Sir Eric Ashby FRS, with Julia, an artist.

Julia:     Speak Eric. Speak!

Eric:     I will. By the 1870s Oxford and Cambridge were ready to accept experimental science as an ingredient in education; but they were not prepared to jettison their cherished ideals of a liberal education in favour of the ideal of the university as a research institution. The vague but none the less attractive idea of the scholar-gentleman is still alive. Liberal education is still the aim of the Oxford tutor, and it has become the aim of the civic university lecturer; for the centripetal attraction of Oxford and Cambridge and their ideas remain a tremendous force in the provincial universities of Britain. British universities have never quite surrendered the idea of Renaissance Man to the idea of the Research Worker. These two powerful social forces – the influence of the utilitarian and the cult of the practical man on the one hand, and the influence of the classical humanists and the cult of the scholar-gentleman on the other – profoundly affected the manner in which British universities adapted themselves to the scientific revolution. Oxford did not respond as Göttingen had responded; Sheffield did not regard science as Munich had regarded it. Wissenschaft won its way into British Universities, but it never quite came to terms with the tough pragmatism of lay governors in civic universities or with the tenacious ideals of classical dons in Oxford and Cambridge. To this day the new has not become altogether assimilated into the old; adaptation is not yet complete: and here lies the cause of some of our present problems in universities.

Julia:    STEM to STEAM we wonder. What do you think?

Eric:     Not sure! But it is evident that the antitheses between science and humanism has almost vanished, but it has been replaced by another antithesis, equally mischievous. The future historian will record that the unprofitable debates of the 1860s on the humanities versus science were followed in the 1950s by equally unprofitable debates on specialisation versus a liberal education. There is an assumption that specialisation and a liberal education are antithetic. What is needed is to challenge the assumption itself. The Oxford Dictionary defines liberal education as education fit for a gentleman. That is still an acceptable definition; it is the idea of a gentleman which has changed. A century ago when Britain awoke to the need for technological education, a gentleman belonged to the leisured class. Modern gentlemen do not belong to the leisured class. Many of them work something like a seventy-hour week, and more and more of them are finding that their business requires expert knowledge. A case could be made therefore for including technology among the ingredients of a liberal education. What then is missing in a scientific or technological education? It is not a smattering of art or architecture which is missing, nor is it an acquaintance with history or literature. Indeed it is not a primary lack of subject-matter at all: the fault lies with what Alfred Whitehead called a celibacy of the intellect which is divorced from the concrete contemplation of the complete facts. It is a preoccupation with abstractions from reality, an escape from the whole of reality. In his book, Science and the Modern World, Whitehead warned us that this would become the great danger of professional education. Each profession, he said, makes progress in its own groove of abstractions, but there is no groove of abstractions which is adequate for the comprehension of human life.

Enter Alfred Whitehead FRS

Julia:    Eric speaks of Whitehead and Alfred Whitehead appears. Strange coincidence! Perhaps not! The magic works. Pray speak, Alfred.

Alfred:  I will. There is something between the gross specialised values of the mere practical man, and the thin specialised values of the mere scholar. Both types have missed something; and if you add together the two sets of values, you do not obtain the missing elements. When you understand all about the sun and all about the atmosphere and all about the rotation of the earth, you may still miss the radiance of the sunset. There is no substitute for the direct perception of the concrete achievement of a thing in its actuality. A factory, with its machinery, its community of operatives, its social service to the general population, its dependence upon organising and designing genius, its potentialities as a source of wealth to the holders of its stock, is an organism exhibiting a variety of vivid values. What we want to train is the habit of apprehending such an organism in its completeness.

Exit Alfred Whitehead, Enter John Dewey

John:    Progress in science ought to manifest itself as an emancipation of the mind enabling it to pursue new ends and new ideals; but in fact, progress due to science has been confined to more efficient means of satisfying old ends and old ideals.

Julia:    This criticism is still valid.

Exit John Dewey

Eric:     Adaptations needed to bring British universities into equilibrium with the age of technology are changes of curriculum; they could be accomplished through the normal channels of university administration and legislation. But they would not be successful unless accompanied by subtle adaptations in academic thought: professors of technology need to be persuaded that the pattern of curriculum under which they themselves were trained is inadequate for their students. Professors of arts subjects need to be persuaded that the presence of technology in universities puts them under an obligation to reconsider the emphasis in their own humanistic studies. It is at this point that universities look to their faculties of arts for help; and it is at this point that they are often disappointed. For faculties of arts have themselves become so deeply influenced by science that they seem unable to offer help towards the assimilation of technologists. Instead of contributing to the university what the Victorians understood by a liberal education, some of them are doing with grammar and documents what scientists and technologists can already do with formulae and instruments. This is doubtless profitable for the progress of scholarship in the humanities, but one cannot escape the consequences that humanities cease to be humanising when they are treated that way. It is a sort of treatment which leads to a celibacy of the intellect as inimical to a liberal education in arts as it is in science.

Exit Eric Ashby

Julia:    The involvement of artists in science and technology, so much discussed among those who live in the echo chamber that is art-science and art-technology, do the same – signs of humanisation are difficult to find! Often one cannot tell who is an artist, because they are as much caught-up in the ideologies of science and technology as the scientists and technologists themselves. Which is one of the reasons why we do not engage with this noisy lot – and they are noisy. Very noisy!

Enter George Orwell

George: Twelve voices were shouting in anger, and they were all alike. No question, now, what had happened to the faces of the pigs. The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which.

Exit George Orwell

Julia:    STEM to STEAM we STARTS to wonder, STEM to STEAM what do you mean? It STARTS to become a nightmarish dream. Awake. Awake. See what thou art doing! The European Commission, DG CONNECT, are fakes! What do I mean? Only those with knowledge will understand. Already that which STARTS becomes an example, an indicator, a signpost towards what not to do – a worst practice case study. And we will use it as such over the coming years to help those outside the European world. This is the Age of Tao! Goodbye Vainglorious Enlightened Ones – your time, your age, your world, is done.

Exit

Sunday, 16 April 2017

At the Parting of the Ways


At the Parting of the Ways

By dusty road, that oft I walked, do not stand,
Arching bridge, now crossed, no longer supports.
I am gone away – there is no way back for me.
On golden sands, gazing out to sea, do not stand,
Sailing ship, on far distant shore, now lies beached.
I am gone away – there is no way back for me.
On lonely hill, thinking of me, do not stand,
No roads, paths, or byways, lead me to thee.
I am gone away – there is no way back for me.
Remember me; forget you, I shall not,
For by your side, I will always be,
As together, to slippery edge of doom, we walk.
I am gone away – fair lady with beautiful soul,
Farewell to thee, our ways now do part.



It’s a work in progress, an experiment, part of 366. I have already changed it since first published. It may change again. The original version is below. Now you ask why do I keep changing it? I say in answer – what is a pentiment? More of my ambiguity! Why should I answer thee? Between that which lies below, and that which sits above, is a vast complexity that lies beyond your machine-like way of seeing an eternity. Then you ask: what is 366? Wait and see, I say by way of return.

Do not stand by dusty road that oft I walked,
For arching bridge, I destroyed as I went,
There is no way back for me – I am gone.
Do not stand on golden sands, gazing out to sea,
For my ship now lies burnt, on far distant shore,
There is no way back for me – I am gone.
Do not stand on lonely hill, thinking of me,
For no roads, paths, or byways lead me to thee,
There is no way back for me – I am gone.
Do not forget me; know that I shall never forget you,
And know too I shall always be, by your side, as together,
We walk, slowly, silently, to slippery edge of doom.
Farewell fair lady with the beautiful soul – I am gone.

Wednesday, 12 April 2017

Fostering Integrity in Research, STARTS, and Art-Science Fakes

The National Academies in the USA have published a new report on Fostering Integrity in Research. Although data on the scale of the problem is missing, the report highlights new Detrimental Research Practices which are damaging to public confidence in research and its outcomes. We though, in the years we spent in Brussels, saw many examples of these Detrimental Research Practices, on both sides – researchers and the European Commission itself.

Fostering Integrity in Research is a hard call, given the obsession with fortune and glory that now dominates the research system both at institutional and individual levels. Fostering Integrity in Research becomes even harder to put into practice though, when the research funding agency itself, is not fostering integrity in its own operations, like for example in its dealings with so-called independent experts. This is why we have withdrawn from all engagement with the European Commission. The problems are endemic and systemic. On the one side you have people who want fortune, glory and power, and on the other side you have technocrats with power and money who want glory. Of course not all are like this. But the culture of the organisation is such that it leads to these Detrimental Research Practices.

So we are back to the matter of the European Commission, DG CONNECT, STARTS, and art-science fakes! We have not finished with this matter. We will soon offer some web links by way of a STARTS unconventional and compelling product. In this case the product is a game – the aesthetics of play. We provide some web links, and you have to spot what is wrong with the material at the other end of the links. No prizes of course, just the fun of participating (the aesthetics of participation) and wondering – it is a game full of ambiguity. Nevertheless it may help you to see the world differently by encouraging you not to accept at face value what people say, especially those with vested interests and conflicts of interest, as they go about constructing the artificial reality that is STARTS – the emperor’s new clothes. Human delusions know no bounds. Now they START to have a boundary, beyond which there is pure fantasy – DG CONNECT technocratic fantasy.

Surreal! Yes indeed it is, partly – in the sense of allowing the subconscious to speak.

Sunday, 9 April 2017

STARTS: Science, Technology, and the Arts and Art-Science Fakes

One of the reasons why we undertake research is to increase knowledge and understanding, not to decrease it. This is why high standards of ethical behaviour are needed in research, otherwise the integrity of the research system is undermined, and it is then no longer possible to trust researchers and what they are saying. This is already happening in the world of STEM research, especially that which is funded by the European Commission. We do not need arts people therefore to contribute further to the problem – which is what is happening. Ethical melt down! No-one wants to talk about it. We do, so let’s START with STARTS – this is the name for DG CONNECT’s appropriation of art for the purpose of pursuing the European Commission’s neo-liberal agenda. STARTS is a case study in ethical meltdown, a case study in the failure of technocracy, and a warning to take action against undemocratic forces seeking to rewrite history, by making art history fit the ideologies of STEM – art-science fakes.

Moving on, the Oxford English Dictionary’s definition of fraud is: A person or thing intended to deceive others, typically by unjustifiably claiming or being credited with accomplishments or qualities.

To be fraudulent there is a requirement that there was a deliberate intent to deceive. This is what scientific fraud does – the presentation of deliberately misleading results, information, etc.

Alternative words: incompetence, ignorance, bias, vested interests, exaggeration, manipulation, distortion, misinterpretation, … These are words that can also be applied to STARTS. The nonsense talked by people involved in STARTS is not necessarily scientific fraud. Only time will tell what is fraud, and that which is ignorance, etc.

The Oxford English Dictionary’s definition of fake is: Not genuine; imitation, or counterfeit.

Art-science fakes? Art-technology fakes? For those who care to look, there are many. Most people are not able to look because they do not want to look – a form of blindness. This is why the tale of the emperor’s new clothes is important. It very much applies to STARTS. Expect therefore much in the way of art-science fakes and art-technology fakes. It takes expertise to recognise a fake. This is why we developed the expertise. We can use this. We will use this – STARTS as a worst practice case study. A case study illustrating what not to do! And every step they take they just add more material to the worst practice case study.

Meanwhile in China, not being caught-up in the Leonardo Cult, binary thinking, Ancient Greek dualities, Abrahamic beliefs, C P Snow’s Two Cultures nonsense, STARTS nonsense, art-science fakes, and so forth … We do indeed live in interesting times. Hard luck – the age of the West is over. Now we move forward into a post-European era! A post-Enlightenment era! What are the Vainglorious Enlightened Ones going to do? They will START doing what they have always done. They will START with STARTS. People will look back and say – it STARTed with STARTS. Back to this matter of art-science fakes!

To be continued …

Wednesday, 29 March 2017

VERTIGO: Symptoms of Disease – the French policy of l’exception culturelle STARTS to succumb to DG CONNECT’s Gradgrinding of the Arts

DG CONNECT’s efforts to Gradgrind the Arts – known as STARTS – which seeks to turn the arts into numbers – on balance sheets – sounds the death knell of l’exception culturelle, especially as part of the French art world has embraced the STARTS nonsense with great enthusiasm. In future art must have a utility – DG CONNECT’s utility.

Now we are experiencing a spinning inside the head, the results of VERTIGO, and someone is saying: we are bringing together the leading players in a sensitive and the intelligible desire and astonishment: artists, engineers, scientists, and entrepreneurs who change and defy our present.

Back to the matter of art-science fakes once again! Expect to see many of these – but as with all art fakes, it takes an expert to tell what is fake, and what is genuine. This is why we studied art and the state-of-the-art, so that we could tell fakes from what is an original – fake or fortune?

VERTIGO is a symptom of several diseases and disorders, often also associated with a loss of balance and feelings of nausea. Chose your acronyms carefully!

Sunday, 26 March 2017

The European Union is 60 and is dying

The European Union is 60. At the birthday party in Rome, Pope Francis warned EU leaders that the European Union risks dying if it does not develop a new vision. But we were also told by EU leaders to stop criticising the EU. Why? Because they think, like the leaders of the Soviet Union, that it is only the job of elite rulers to think, while the rest of us just work. In the manner of Ancient Greece so to speak! This is a measure of how out of touch EU leaders are.

The EU does not run the risk of dying for it is already dying. The disease is a cancer. It is the cancer of elitism, bureaucracy, technocracy, incompetence, cognitive illusions, corruption, deception, arrogance … This list is, sadly, very long.  DG CONNECT’s STARTS Platform is a relevant case study.

At the heart of the cancer is an institution called the European Commission, which is destroying the harmony that once existed among the nations of Europe, and is becoming a significant threat to peace, stability and prosperity! It is also a threat to democracy and is undermining our system of Parliamentary democracy.

The history of Europe is a history of European Unions. This current European Union will go the same way as all the previous ones, and will in the course of doing so, bring misery and suffering to millions of people. It is already doing this, but most people cannot, or do not want to see. It is also, like the Soviet Union, falling apart, and is being held together only by fear generated by EU Institution propaganda, and threats from leaders not to criticise.

Europeans need to break free from their past, not to reinvent it in the same form that it was yesterday, which is what the European Union is doing. The European Union is Prometheus. It is also Narcissus. It sits on the rock of the past, bound by invisible and silent chains, suffering the agony of, every day, having its liver torn out by an eagle, only to regenerate again overnight back into the same form it was the previous day. And it has so fallen in love with itself that it cannot see the damage that it is doing. So it sits gazing at its reflection, admiring itself, as it did in Rome over the weekend.

The EU has been condemned by Zeus and cursed by Nemesis. Time to say goodbye! We are! On March 29th! But it is also time to start creating a new vision for Europe, in a post-European era world. This, if you were wondering, is what we are about, and we use a technique from the world of arts and literature known as de-familiarisation (from the school of literature known as Russian Formalism), also called, making the familiar seem strange, as part of the process.