“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
Abstract sense data are the raw sensory information the senses detect
Imaginary sense data are the abstract sense data detected by consciousness
The easiest way to grasp the elusive nature of abstract and imaginary sense data is to gaze upon an abstract painting.
Do you see imaginary things in the painting? When you see things in abstract paintings you’re witnessing your own mind interpreting abstract sense data into imaginary sense data.
Applying the theory of ABSD and IMGSD to the Movements of modern art yields an exquisite and highly comprehensive map of our inner cognitive processes.
ABS and ims are abundant in modern art and make their first appearance in modern times with Monet. Monet painted the ‘light that touches his eyes’(1). This is quite unique twist as Monet painted the abstract sense datum that he was able to squint his eyes and place his awareness on the fuzzy rather abstract details and at the same time record these patches of light with painterly strokes upon the canvas. There’s input. There’s output. Were modern artists able to map our inner cognitive processes. Is this why the Movements of Modern Art were ‘en masse’ – a large group of people painting the same style. Cubism spoke to people and the Cubists art dealer suggested not only the name but also was the first to wonder aloud in print whether or not the cubist art style was a representation of the minds eye synthesizing light into an object.
Herbert Simon explains it in his classical book The Sciences of the Artificial: “solving a problem simply means representing it so as to make the solution transparent.“ (1981: p. 153) ?SOURCE?https://www.interaction-design.org/literature/book/the-glossary-of-human-computer-interaction/cognitive-artifacts
Cognitive artifacts may be defined as “those artificial devices that maintain, display, or operate upon information in order to serve a representational function and that affect human cognitive performance.”
It will be reasonably seen that within the Cog Art of MOMA that it’s reasoning is sound.
When we analyze each movement as a cog artifcat then the whole of MA makes much more sense. The MOMA Is a map of human cognitive processes.
Each MOMA represents a cognitive function; some being biological and sum being culturally artificial constructed. We are able to deduce within the Map itself, the locus where spiritual experiences, take place, where lucid dreams occur and how to enhance our inherent ability to be self-aware.
The cognitive artifact presents reasonable answers to such questions as: What jumps the Explanatory Gap? Why is Modern art abstract? How do we get the ‘ghost’ in the machine? How do we replicate our consciousness? How will AI developers create consciousness in computers without first being able to replicate their own consciousness within a lucid dream?
More Study:
http://classes.matthewjbrown.net/teaching-files/cognitive-ethnography/hutchins-artifacts.pdf
“As part of an active, dynamic world, humans are continually observing, analyzing, and acting upon the environment. This means that the human has to be analyzed as a system, one in which actions are closely tied to perceptions, where each sensory system adds to the general picture of the environment formed from all the information impinging upon the sense organs, from prior experience and knowledge, from observations of others, and from interpretation of the current state of affairs.” – Norman, D.A. Research in Engineering Design (1992) 4: 44. https://doi.org/10.1007/BF02032391
https://link.springer.com/article/10.1007/BF02032391
http://cogsciencefordummies.web.unc.edu/cognitive-artifacts/
“When the informational and processing structure of the artifact is combined with the task and the informational and processing structure of the human, the result is to expand and enhance cognitive capabilities of the total system of human, task, and artifact.” – pg 2
“The study of artifacts can lead to several advances. First, because so many human activities depend upon artifacts, a full understanding of those activities requires an understanding of the human informationprocessing mechanisms, the internal knowledge of the human, and also the structure, capabilities, and representational status of the artifacts. Second, by understanding the ways in which cognitive artifacts serve human cognition, we may be better able to design new ones and improve old ones. A major theme of the chapters in this book is the role of artifact, both in support of human activities and also as a tool for the understanding of human cognition.” pg 15
https://blogcomunicatori.myblog.it/files/Ergonomia_cognitiva/norman_cognitiveartifacts.pdf
Magic Eye Stereo-Gram
Stereogram Tut Highlight
Each Movement of Modern Art aligns itself with cognitive processes primarily responsible for synthesizing raw sensory data into objects, spatial awareness, language skills, dreams, the cognitive space of the real world, the inner life of emotions, sense of self, consumerist sense of self, repetitive habits, and conceptual thought.
Sense data signals are transmitted to the brain.
A preliminary and general analysis of the MOMA demonstrates that artists have consistently, over time, reduced their art works to visually represent a minimal amount of raw sensory information. Cubism contains a vast amount of raw sensory information whereas Conceptual art, which many historians agree marks the end of modern art, has virtually none.
“In cubist artworks, objects are broken up, analyzed, and re-assembled to produce abstracted forms, which often depict the same objects from different viewing points. To the naïve observer, these paintings appear to contain geometrical forms in which familiar objects are hardly recognizable, even in the presence of a meaningful title. Cubist paintings are therefore unique “stimuli” with which one can study the effect of top-down knowledge on bottom-up processing. The aim of the current study was to test the extent to which a short training session about Cubism would facilitate object recognition in paintings by Picasso, Braque and Gris. We assumed that providing naïve subjects with some information about Cubism would aid task performance and hypothesized that subjects who received training would recognize familiar objects faster than control subjects, and would exhibit stronger activation in object-responsive and attention-related regions.” – (Source)
A preliminary and general analysis of the MOMA demonstrates that artists have consistently, over time, reduced their art works to visually represent a minimal amount of raw sensory information. Cubism contains a vast amount of raw sensory information whereas Conceptual art, which many historians agree marks the end of modern art, has virtually none.
“In cubist artworks, objects are broken up, analyzed, and re-assembled to produce abstracted forms, which often depict the same objects from different viewing points. To the naïve observer, these paintings appear to contain geometrical forms in which familiar objects are hardly recognizable, even in the presence of a meaningful title. Cubist paintings are therefore unique “stimuli” with which one can study the effect of top-down knowledge on bottom-up processing. The aim of the current study was to test the extent to which a short training session about Cubism would facilitate object recognition in paintings by Picasso, Braque and Gris. We assumed that providing naïve subjects with some information about Cubism would aid task performance and hypothesized that subjects who received training would recognize familiar objects faster than control subjects, and would exhibit stronger activation in object-responsive and attention-related regions.” – (Source)
Intend to ‘see’ abstract and imaginary sense data in the painting below by gazing softly at it. It helps to rotate one’s eyes and attention in a circle. Or choose of focal point above the image or behind the image.
If your mind is silent enough the image may collapse into a sheer abstraction and then quickly re-assemble itself as a secondary image composed of sheer imaginary sense data.
Abstract sense data are the raw sensory information the senses detect
Imaginary sense data are the abstract sense data detected by consciousness
The easiest way to grasp the elusive nature of abstract and imaginary sense data is to gaze upon an abstract painting.
Do you see imaginary things in the painting? When you see things in abstract paintings you’re witnessing your own mind interpreting abstract sense data into imaginary sense data
Duis autem vel eum iriure dolor in hendrerit in vulput ate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores legere me lius quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur mutationem consuetudium lectorum.
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Edward Hoppers painting represents the Descartes Theater – the world of objects that we know. This insertion is of my own volition as it’s addition Makes the model simpler and more cohesive and comprehensive as a whole. However, it should be noted that American Regionalism is not regularly included in most art theorists’ understanding of the linear development of Abstraction within the Modern Art Movements
Duis autem vel eum iriure dolor in hendrerit in vulput ate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores legere me lius quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur mutationem consuetudium lectorum.
Duis autem vel eum iriure dolor in hendrerit in vulput ate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores legere me lius quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur mutationem consuetudium lectorum.
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“Conceptual art is art for which the idea (or concept) behind the work is more important than the finished art object. It emerged as an art movement in the 1960s and the term usually refers to art made from the mid-1960s to the mid-1970s.” –
Richard Long
A Line Made by Walking 1967
Tate
© Richard Long
Land art: To make this work Richard Long walked backwards and forwards in a field until the flattened turf caught the sunlight and became visible as a line. He photographed the work, as a means of recording this physical intervention within the landscape.
Duis autem vel eum iriure dolor in hendrerit in vulput ate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores legere me lius quod ii legunt saepius. Claritas est etiam processus dynamicus.
Duis autem vel eum iriure dolor in hendrerit in vulput ate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores legere me lius quod ii legunt saepius. Claritas est etiam processus dynamicus.
“In cubist artworks, objects are broken up, analyzed, and re-assembled to produce abstracted forms, which often depict the same objects from different viewing points. To the naïve observer, these paintings appear to contain geometrical forms in which familiar objects are hardly recognizable, even in the presence of a meaningful title. Cubist paintings are therefore unique “stimuli” with which one can study the effect of top-down knowledge on bottom-up processing. The aim of the current study was to test the extent to which a short training session about Cubism would facilitate object recognition in paintings by Picasso, Braque and Gris. We assumed that providing naïve subjects with some information about Cubism would aid task performance and hypothesized that subjects who received training would recognize familiar objects faster than control subjects, and would exhibit stronger activation in object-responsive and attention-related regions
.” – (Emphasis mine) – Front. Hum. Neurosci., 02 March 2010 | https://doi.org/10.3389/neuro.09.011.2010
(Source).
Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores legere me lius quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur mutationem consuetudium lectorum. Mirum est notare quam littera gothica, quam nunc putamus parum claram, anteposuerit litterarum formas humanitatis per seacula quarta decima et quinta decima.
Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores legere me lius quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur mutationem consuetudium lectorum. Mirum est notare quam littera gothica, quam nunc putamus parum claram, anteposuerit litterarum formas humanitatis per seacula quarta decima et quinta decima.
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Edward Hoppers painting represents the Descartes Theater – the world of objects that we know. This insertion is of my own volition as it’s addition Makes the model simpler and more cohesive and comprehensive as a whole. However, it should be noted that American Regionalism is not regularly included in most art theorists’ understanding of the linear development of Abstraction within the Modern Art Movements
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Warhol – Pop Art
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https://www.tate.org.uk/art/art-terms/m/minimalism
“Conceptual art is art for which the idea (or concept) behind the work is more important than the finished art object. It emerged as an art movement in the 1960s and the term usually refers to art made from the mid-1960s to the mid-1970s.” –
Richard Long
A Line Made by Walking 1967
Tate
© Richard Long
Land art: To make this work Richard Long walked backwards and forwards in a field until the flattened turf caught the sunlight and became visible as a line. He photographed the work, as a means of recording this physical intervention within the landscape.
