From the exhibition Orientation – the cognitive part.
The depictions indicate the “projected actuality” of our reality, our existence in fact as projection in space.
Aspects of our reality occupy certain places in relation with the whole self, and in certain distributions or “shapes”, as projected by our whole. They are depicted as captures from behind, together with an indication of the whole self, in some.
1 “Cornered across (with vision)” So, with the depictions, “it” is there in you. There is nothing solid about our reality, and we occupy space as projected by our whole through the CNS.
This is our line-up with and where we face in vision the world out there.
This is the self or identity coming across to identify with vision.
The witness is back behind this cornering.
This out-line in grey of the head, neck and shoulders represents the subtle sense of our whole being. He/she is a subtle sense because he/she does not exist in our reality of projection, but gives us more a sense of where we are, centred on his or her right.
The conscious, like coconut palm fronds, reigns from above as if to shed light on our reality. Because we are mainly in the spread across including the self and vision, the conscious itself is more a scooped-out absence.
These lines, around the lower part of the cornering, indicate our front and back, before the witness behind.
2 “Knobbly join” There again is the head, neck and shoulders, indicating the subtle sense of the whole self who is in and of reality and does not exist in projection, but gives us our sense of where we are,
Vision is here.
The wot and the wit stands for the world out there (up, front and to the right, there on you and me) and the world in there (down, behind and snug towards our cosy core, there on you and me), that we may experience.
The circle between the wot and the wit, is the self having an experience. The self is understood to be inseparable from experience itself – “what is experience without self, what is self without experience?”.
Experience itself is separate from what is experienced. What we experience, out there and within, is the object to our self having an experience.
The face (left half of the self circle)) is the identity, determined more by our world and society. Conscious is there again reigning from above, but not as coconut palm fronds but more as its body.
The world out there has an angle, forwards, up and across to the right vs. our inner reality that extends back, under and nuzzles towards the core (mid-line) of the body. You can distinguish your wot and wit, quite readily in your own situation I think. You are the identity in the knobbly join between them.
3 “Bass clef (of sound)” There are more recognisable shapes here. The bass clef and the top of the treble clef.
Now again, it is our actuality, a depiction of what is actually there on us. So, the world of sound, this is there on you, and I’ll just take you through it.
The world of sound “comes under and around you on your right, goes over the top and comes in on the left above, but not below”.
So there’s this shape to the projected actuality of our world of sound. It happens to be the symbol used in music notation to indicate the bass rage of notes, the rumbling deep notes that makes us look up and around and determine what it is. It might be a dinosaur, a tank or a jet plane (threatening deep noise), and contrast with the treble notes that can settle us into our cosy core. Our sensitivities there are rumbled by deep bass notes, and we rise to hold our self up in our hard heads to determine friend or foe, within our “base clef”.
We can recognise and depict or describe the shape, but there’s the “where” of it, the “actuality of it being there.
It does not explain the symbols, but I suspect that the symbols of music originate from our actuality. The wide acceptance of them may be because of our actuality being of that shape.
4 “Arch of language” The only one I have used colour in. Japanese vermilion red is used in calligraphy. It contrasts with the dark sumi-e ink, to correct, mark or stand out. It is also the red seen in Shinto shrines; their torii gate ways are painted with it.
I think I have used red because language is such a human quality that marks our cognitive “gawk and talk” reality. I consider the rest, the conscious, mind and the sense of self in the world common to animals. Like humans, they, whole living “animal” beings, function in the real world through their self functioning in “its” projected experience of the world.
Compared to the actuality of our realm of sound (bass clef), this is a narrower, tighter realm of language, which is also sound but special or particular sound. It dips under the conscious, domes over mind and lands on the right shoulder.
Our depths extend under it. So, cognitive, emotive and somatic (of body) sense are marked in their three letter abbreviations. LInghter lines under them indicate our deeper instinctive and intuitive sense of others and the world. Our cosy core is towards the mid-line of the whole self.
Our consciousness extends down towards subconscious depths, but on the “other side”, the subconscious begins right next to us.
“Carried” on the Arch of language are aspects of our linguistic cognitive reality, namely our Infinitism, Circularity and Foundationalism.
Infinitism means it goes on and on for ever, and together with Circularity and Foundationalism, they are the nature of our conscious mind, recognised in philosophy in those terms .
In order to be certain about something we think about or sense, we can try to find a proof for what it is. The proof must come from outside what you are trying to prove, so as to help support it. But then, that proof needs a another proof from outside it, to support it … and so, it goes on for ever – Infinitism, just as the conscious goes on and on (till off?).
And it is easy to go around in circles in our mind, Circularity, which is formerly described as when the thing you want to prove is in a subsequent proof. The train of logic forms a circle. Though there are separate steps we do not get outside of the initial statement.
And Foundationalism is the assumption that is not questioned or challenged, a fundamental belief.
These qualities of the cognitive mind are called in philosophy “Munchausen’s trilemma”, the unsatisfactory nature of certainty in our mind (see Note 3).
Just as music symbols take the shape of our actuality, the three aspects of our cognition have their place in their actuality on our “Arch of language”. It dips under the conscious, on and on Infinitism, circles over the mind’s reach, Circularity, and lands on the emotive level on the right shoulder, for Foundationalism.