infomeasurementThe information measurement is an attempt to “recalibrate” and effect change within and upon dynamic systems through the revision and introduction of new tools.

Source –> Medium –> Observer

Primitive Change: A Primitive change is a change from within the rules of the system, where change is any alteration in the state of the system over time -time being hastily described as that “thing” or “concept” through which two contradictory statements can be made of the same object.

Evolved Change: An evolved change acts ON the system, changing the rules themselves. If the rules have changed, the set of all possibilities of that system must also change, unless the rule changed was a sterile or empty rule.


Information Measurement Outline

    1. Approach (Source/Field/Normative) or Philosophical and Conceptual Basis
      1. Dynamic vs. Closed Systems
        1. Limitations:  Closed systems tend to be based upon dualistic thinking (i.e. The Bell Curve is useful to a point, but it can not illustrate the dynamics and correlations of extreme groups or actions and how these relate energetically
      2. The Information Measurement seeks new ways to measure
        1. Tri-perspectival Philosophy: a referencing snapshot of a dynamic system:
          This relates to the particle in the wave/particle duality.  The wave/particle duality is a duality, but it is also an accepted paradox, the “true” nature of an atom being dynamic and not “on/off”
        2. Kinetic Torus: A conceptual model of energetic dynamic systems. A measurement of systems’ evolving changes
        3. The Mobius Chain and Impossibility of Precision Mapping:The synthesis of the torus and tri-perspectival approach are virtually impossible to map, but rather we will attempt ways to idealize or approach these systems simultaneously.Steven Wright (paraphrase): I have a life-sized map of the United States, 1mile equals 1 mile.The more complex a model or mapping, the less comprehensive it becomes as it resembles more closely the thing to be mapped.
  • Application: The Information Measurement Framework (Situational/Domain)
    1. Specifics of the Information Measurement
      1. The measure of the movement of information
      2. Identification and classification of information and information networks
      3. Identifications and classification and analysis of information filters
        1. Institutions (i.e. museums, libraries, collections, search engines)
        2. Media (radio, television, newspapers, web, film, the arts, advertising)  [editor’s note: It could be argued that there is a dwindling of the openness of media as the viral tendencies of institutions in a open capitalist system increasingly control the filtration of these items. Historical examples include the homogenizing of radio because of private ownership. ]
        3. Individuals (i.e. disc jockeys, artists, scholars, educators, collectors, critics, etc.)
    2. Application of the Information Measurement
      1. Modeling/mapping of these systems and their flow
      2. Historical/Critical/Theoretical analysis
  1. Analysis:
    1. Our Motivations
      1. Application throughout the Experiment Network as a means of information management
      2. We are artists and desire to create
      3. Individual frustration with the system’s existing networks
    2. Our Beliefs
      1. There is an opportunity for greater awareness, comprehension and application of ideas and concepts outside of daily modular thinking
      2. As a society we are in a privileged position to reflect upon the governing systems
    3. Our Goals
      1. To create a self-referential feedback loop, to activate the ability of consciousness and awareness of one’s self
      2. To foster an educational environment of reciprocal exchange
      3. To challenge ourselves to grown and learn


Complete Table Of Individual Art Forms

From Joseph Schillinger’s Mathematical Basis Of The Arts

Sensation General Component System of
[kinetic] Hearing Time [1] Sound 1. The Art of Audible Sound
[kinetic] Touch Time [1] Mass 2. The Art of Touchable Mass
[kinetic] Smell Time [1] Odor 3. The Art of Smellable Odor
[kinetic] Taste Time [1] Flavor 4. The Art of Tastable Flavor
[static] Sight Space (X1, X2) [2] Light 5. The Art of Visible Light
[static] Sight Space (X1, X2) [2] Pigment 6. The Art of Visible Pigment
[static] Sight Space (X1, X2) [2] Surface 7. The Art of Texture of Visible Surface
[kinetic] Sight Time [1], Space (X1, X2) [2] Light 8. Kinetic Art of Visible Light projected on a Plane Surface
[kinetic] Sight Time [1], Space (X1, X2) [2] Pigment 9. Kinetic Art of Visible Pigment transforming on a moving surface.
[kinetic] Sight Time [1], Space (X1, X2) [2] Surface 10. Kinetic Art of Visible Texture transforming on a moving surface
[static] Sight Space (X1, X2, X3) [3] Light 11. Static Art of Visible Light placed inside of a 3-dimensional spatial form
[static] Sight Space (X1, X2, X3) [3] Pigment 12. Static Art of Visivle Pigment covering the surface of a 3-dimension form
[static] Sight Space (X1, X2, X3) [3] Surface 13. Static Art of Visible Texture of 3-dimension forms
[static] Sight Space (X1, X2, X3) [3] Mass 14. The Art of Static 3-dimension visable mass
[kinetic] Sight Time [1], Space (X1, X2, X3) [3] Light 15. The Art of Visible Kinetic Light projected on a 3-dimensional or a 2-dimesional screen in motion
[kinetic] Sight Time [1], Space (X1, X2, X3) [3] Pigment 16. The Art of Visible Kinetic Pigment covering 2-or 3-dimesional surface in motion
[kinetic] Sight Time [1], Space (X1, X2, X3) [3] Surface 17. The Art of Visible Kinetic Texture of surface or volume
[kinetic] Sight Time [1], Space (X1, X2, X3) [3] Mass 18. The Art of Visible Kinetic Mass

Meltzer’s Philosophical Inquiry

This is a sequel, not a formulation of prolegomena[1].

I seek to view philosophical inquiry (and everything else too), already itself an effete notion, as afterthought. Historically, multitudes have wailed that all knowledge has already been stated. Plato’s Meno reveals that man’s reason can penetrate all reality by memory of his immortal soul; Plato proceeds to render all truth himself and thus virtually closes the door, allowing for minor revision by such men as Kant. Bob Dylan is not moaning when he says, almost quotingly, “All the great books have been written,” realizing that man can no longer open his mouth without seeming to quote. Zooey Glass of J. D. Salinger’s Franny and Zooey sees as frightening the possibility of man knowing everything of his predecessors. But man must strive to order aesthetically[2] the knowledge available to him, knowing always that the entire system can become “played out” and crumble. I must begin this critique with the aesthetic notions presently composing the totality of my particular afterthought, relaizing that they will quite likely be utterly different when I finish. “Tommorow Not Today,” written by Sandy Fadin[3] of the obscure Tuckets, sets the tone for this procedure. The bulk of my writing itself will have effected my comtemplative state, possibly quite vastly or minutely. It the course of my writing, objective changes in the face of rock ‘n’ roll have themselves taken place, and I began[4] dealing with “folk-rock” before the label ever achieved wide usage.

  1. Oh, you know, prolegomena (as in Kant’s Prolegomena to Any Future Metaphysics) -sort of (clarification of) ground for future moves.
  2. Mere grocery list is order too. etc.
  3. Man Ray’s grandson or grand-nephew or something like that.

Meltzer, R. (Richard) The aesthetics of rock. New York: Something Else Press, 1970