“Consciousness means, literally, ‘knowing-together.’
A development of consciousness would therefore mean knowing “more together,”
and so it would bring about a new relationship to everything previously known.
For to know more always means to see things differently.”
– Maurice Nicoll
Are the Movements of Modern Art a Map of our Cognitive Processes?
The Canvas of Consciousness: The Movements of Modern Art = Map of Inner Subjective Cognitive Processes
Initial evidence suggests that Modern artists, including Monet, Braque, Biociaina, Duchamp, Dali, Pollock, Frankenthaler, Warhol, Andre & Kosuth all contributed to mapping our inner cognitive processes. Artists of the 20th Century followed Monet’s retreat from painting the physical empirical world of objects to intentionally painting only the photons of light that bounced off his rods and cones. Monet focused on the light and transcribed it on the canvas.
Following down Monet’s Rabbit Hole, The Cubists, Futurists, Dadaist, Surrealists, Abstract Expressionists, Color Field painters, Pop Artists, Minimalists and Conceptual artists, inadvertently and unbeknownst to them, moved the locus of their attention a notch deeper than Monet’s lilted eyes. They followed Monet’s ray Monet’s ray of light shone on our deepest subconscious memories; Cubist’s focused on sensorimotor schemata and (ref.2). The Futurists focused on another layer of sensorimotor schemata the paintings of which one see’s an immediate sense of time, depictions of depth, movement and color and some art historians believe; a tactility as well as a tactile sense of sound, and sound and smell.
The Dadaists‘ were messing around with Broca and Wernicke’s area by publicly and audibly reciting abstract tonal language poems while the painters worked with language mixed with abstraction and often filled with messages as well as textural and collage elements.
The Surrealists intense focus on dreaming indicates the presence of imagination, daydreaming and lucid dreaming. Also this movement represents the Kantian “Synthesis of Imagination’ which is the minds ‘knowing’ that the assumed hidden surfaces an object are still there even if the sense data is not present to our senses.
The surrealist layer of cognition transmits this sense data an collected mentl info to the the next function of cognitive processes; the production of objects we experience around us. The output of the Surrealist layer creates, a caveat – a 3D world, succinctly, dividing our subjective self from the objective world. It marks our subjective and therefore private experience of the world. It is visible area where our subjective mind interacts with the real world around us. Also, this caveat makes the MOMA more comprehensible as a cognitive map. What is a subjective cognitive map without a representation of the Descartes Theater present in our every experience?
Many art historians, myself included, would not position American Regionalism as anything to do with the Movements or Modern art. The MOMA were a series of successive abstract periods of time whereas Regionalism was the dominate art form in America after WWII and they reject abstraction. However, it stands to reason that a subjective cognitive map must have an accurate representing of the empirical world. The insertion of American Regionalism into the MOMA is justified as it enhances our understanding by creating a visible area within the map where our subjective mind interacts with the world.
The 3D world mental output is then dumped into emotional cravess of the Abstract Expressionists. The real world of social interactions and moving objects about as we do encrouches upon their emotions outputting an internal core sense of self (Color Field Art). The ouput of which is a bag of mixed emotions and superficial concerns, Pop Art is our core consumer sense of self. The MM takes the compiles all the collected info and triggers memories embedded in a set of habits that define our sense of self, as the Minimalist Movement is often described as ‘self-same units in repetition’.
The map culminates into fruition of an idea, a concept in the mind as we see with the Conceptual Art Movement. Conceptual Art was Anti-aesthetic – intended not to produce aesthetic experience; state the existence of things; no need for an interpreter; ownership by ‘knowing’ the artwork. The Conceptual art layer of memories produce a concepts of self of self and self-awareness. From this vantage point consciousness cascades back down the nervous system out into the world purveying an overview the world, verifying concepts match objects, and situations with responses to the world. All the while not really aware are that our minds are embedded within this Canvas of Consciousness.
Every day and night the focus of our attention moves between the layers of memories of found within the canvas of consciousness. When we dream our focus naturally finds its way into the dreaming world. Why does this happen? Why do we dream? How can the map augment our inquiry into the nature of dreaming?
What is Lucid Dreaming But A Full Body Aesthetic Experience?
Next Level Lucid Dreaming begins with understanding the cognitive and perceptual mechanics found in the map. Understanding the map is key to developing the ability to lucid dream of things that are quite normally beyond our experience ability to conceive. For instance; this was the first what happend when I first found my hands in my dreams; when I produced a lucid dream of the UltraViolet Spectrum;
A First-Person Science of Consciousness has arrived. I will be discussing my theory of consciousness; the Canvas of Consciousness on the public forum filled with great minds from all over the world; including Stewart Hammeroff, DeePak Chopra and more Ph.D’s and independent scholars interested in asking and attempting to answer the question;
What is Consciousness?
The only way we will answer this question is by learning to replicate our daily awareness in a lucid dream. The Canvas of Consciousness shows us how to create lucid dreams on a more consistent applied subjective scientific manner.
“The growth of knowledge both Hobson and I are looking for will not so much be achieved by generating ever more auto-phenomenological anecdotes or by engaging in and by endless philosophical debates on the possibility of a true first-person science of consciousness, but simply by concentrating all efforts on turning making lucid dreaming into a fully replicable and systematically inducible target phenomenon first.” – (Thomas Metzinger. “Reply to Hobson: Can there be a First-Person Science of Consciousness?” PSYCHE 12 (4), August 2006 pp. 4) (Source)
Public Open Forum Discussions begin soon!
See my website for updates:
Your Donation to my GoFundMe Campaign will Help Support:
1 Book Printed: The Canvas of Consciousness
@copyright permission payments
@ writhing and production of final full length color version & BW version
It’s important to me to keep the book as simple as possible while not glossing over key points my aim is to make the theory as widely available as possible. In order to do this the theory must be presented in a way that everyone, – no matter their walk in life – can understand the mechanics involved. As such I need to know more about you and why you’re you’d be interested in reading a book about the founding of a Science of Consciousness by using the Canvas of Consciousness – The Movements of Modern Art as a map of our conscious minds.Canvas of Consciousness Survey
Thank you for your time,
Scott A. Jackson
Ps – Scroll down for informational on the MOMA = Cognitive Map
Pre-Ph.D Private Research 2006-2017
Private Work -Short Version Manuscript “The Big-Little Guide to Lucid Dreaming”
Master’s Work Dec 2009
Lucid Dreaming Blog
Toward a Science of Consciousness 2010 (search page/pdf for ‘Jackson’)
“Abstract and Imaginary Sense Data (Source)
Toward a Science of Consciousness 2008
“Retooling Sense Datum Theory: On the Existence of Abstract and Imaginary SenseData” (Source).
Toward a Science of Consciousness 2006
“The Foundation for a Pragmatic Epistemology of the Imagination”
Great – public forum – to vet the theory
(Forum includes Science of Consciousness debaters, curious 15-year-olds and Ph.ds from Biology to Physics in locations around the world. As well as such luminaries and active commenters as Deepak Chopra, Stuart Hameroff, and many other active very sharp-minded individuals.)
1-“One art historian who was publishing a book was able to obtain what he regarded as reasonable and low-fee access to an iconic artist’s work, but even so, ARS imposed a fee high enough to add $20,000 to the cost of publishing the book. The fee was lowered dramatically after the scholar asked the artist’s estate to intervene.” – PG 27 http://cmsimpact.org/wp-content/uploads/2016/01/fair_use_for_visual_arts_communities.pdf
Cmsimpact.org. N. p., 2019. Web. 9 May 2019.
Aufderheide, Patricia, and Bryan Bello. Copyright, Permissions, and Fair Use among Visual Artists and the Academic and Museum Visual Arts Communities An Issues Report A REPORT TO THE COLLEGE ART ASSOCIATION. 2014.
(Aufderheide and Bello)
Copyright, Permissions, and Fair Use among Visual Artists and the Academic and Museum Visual Arts Communities 2014
down the canvases, out into the subjective world. Unifying our minds with the outside world via an our own internal a subjective as we see in Hopper’s Diner”.1948. The cognitive equivalent of Descartes theater is represented by the American Regionalist movement.