DIAGRAMS Intuitive Methods a design based inquiry What does it mean to use intuition? What do I mean when I say I am an intuitive person? The term intuition as it is used in this project is an experience that is opposite of analysis but is part of a well defined process. Intuition in this sense is the experience of synthesis, of holistic and undivided awareness of patterns derived from the world. It is the first impression. American pragmatist and semiotician Charles Peirce sees intuition as the first experience in the process of cognition. Pierce created a triadic schema of cognition; firstness is a quality, a holistic and undivided impression, secondness, a reaction to this first impression and thirdness, as a relationship of the first two and the basis for the next first impression. Peirce coined the term abduction roughly translated as a best guess bordering on intuition with an instinctual connection. Along with deduction and induction, abduction is one of the methods of reasoning. Alfred North Whitehead, mathematician and founder of process philosophy, developed a metaphysical notion of experience that is an aesthetic synthesis based on an intuition of patterns. Our ability to recognize patterns from our environment is essential for intentional action. The guiding influence on our intentions is an aesthetic synthesis, rather than rationality. The refinement of intuition is fundamental to discerning patterns that will bring coherence to experience. French philosopher Henri Bergson developed a definition of intuition that provides a balance to analytic thinking. Duration is the basis of intuition in Bergson’s ontology. Gilles Deleuze, in ‘Bergsonism’, recognized this definition as a methodology of intuition. The holistic experience duration is the same as that of intuition. Duration continuously bifurcates between attention to the multiplicity of the environment and the holistic recollections of memory. Deleuze’s methodology of philosophical inquiry begins with stating a problem as an invention. That is to say that the solution to the problem demands an invention. Intuition discerns which problem to pose. The problem posed by Intuitive Diagrams investigates the visual communication of patterns found within relationships of concepts and philosophical ideas. In working toward that end I have been inventing a system of imagery and a taxonomy of glyphs that interact as intuition and analysis. The creation of this system has impacted the ideas of the problem itself as I continue to find new patterns leading to new aesthetic synthesis. Content and expression are intertwined creating a form of thought that evolves and expands. The system is divided into four different operations that determine the interplay of virtual potentials and their actualizations. Within each operation are instances that represent specific lived experiences. Operations Actualizations of the virtual are carried out through four different operations found in complex systems. These operations define the vectors of movement between the virtual and actual. They can be thought of as tendencies towards different mixtures of the virtual, expressed through vectors, into actual coordinates of spatial relationships. In the above schema, the virtual is represented as 3 blank boxes. The bifurcation of experience is the first operation creating something; either a recollection or an awareness of the physical. Memory is represented as a space that has been bounded. The physical is represented as 3 objects, indicating the multiplicity of the physical world. Each operation influences the form that actualizes, either mind or matter. 0 represents virtual potential (rather than nothingness) and 1 represents something, or an actual event occurring. Experience occurs as a mixture of virtual and actual. 000 Holistic vectoral flux and flow without determination of actualization. It is a virtual smooth space that does not contain markers for distances or time. It has destratifying tendencies eliminating difference and and erosion of structure. Homogeneity giving rise to stratification. The virtual field of points of potentiality. It is the synthesis of multiples. 010 Something occurring forming a symmetry breaking, resulting in a contraction of potential into an actuality. The resulting focus is a sorting of smooth space into strata of content and expression along vectoral flow. The codifying of space and time by the formation of content and expression forms a stabilizing effect of a point attractor in phase space. In this sense it is a screen dividing chaos. It immediately bifurcates into the past or the future, between a memory or attention to the environment. The whole is split into two possibilities of which one will become realized. 101 A bounded resonance chamber creating the amplifying effect of vibrations through positive feedback loops. The aggregate behavior of molecular components of a medium give rise to emergent properties on a macroscopic level. These interactions can amplify or cancel each other. Coordinated action through frequency and amplitude. The past is a unified virtual potential, and a particular recollection is a bounded area of an infinite potential. The memory resonates with emotion before losing coherence. 111 Creation of multiplicity through novelty in open systems far from equilibrium. Awareness of the physical environment is a breaking down of which elements are included and which are not through contrast from a continuum. Folding occurring through differences and repetition. Duration dividing into the multiplicity of the immediate physical. Empiricism breaking wholes into parts through analysis. Drawings as Synthesis I have always been fascinated by the holistic nature of drawing. I can look at any drawing I did and immediately remember my state of mind, where I was and what was going on with me at the time I made the drawing. Drawing is a trigger for accessing holographic memory because at it’s creation there is a keen awareness of pattern. Drawing is a method of elimination. Eliminating the unnecessary is to get to the essential features that resonate with an aesthetic cohesion. The refinement of intuition in drawing happens through the discernment of contrasts that form aesthetic synthesis. Drawing is holistic, embodying intuition and intention with physical circuits and rationality. That is why I diagram out complex ideas. I am able to encode patterns of meaning as they relate to my recollections of other ideas and concepts that intersect and converge. The result is a diagram encoding holistic memory and relating abstract concepts through vectors represented by lines and shapes. In Peirce’s diagrammatic reasoning, diagrams are a-signying rules which form patterns of thought. Schematics Diagrams used in the deck of cards represent 15 key elements of complexity theory, geophilosophy and process-based philosophy. The intent is to communicate an iconic shorthand of emergence. Intuition is an emergent phenomenon that is both the cause and result of experience and is a synthesis of memory and perception. The 15 glyphs are combined in different ways by way of an overriding operation that is indicated by a binary number. This open ended system allows for endless interpretations and combinations. On each card back is both a schema and an operation that is predominant.
 DIAGRAMS Intuitive Methods a design based inquiry What does it mean to use intuition? What do I mean when I say I am an intuitive person? The term intuition as it is used in this project is an experience that is opposite of analysis but is part of a well defined process. Intuition in this sense is the experience of synthesis, of holistic and undivided awareness of patterns derived from the world. It is the first impression. American pragmatist and semiotician Charles Peirce sees intuition as the first experience in the process of cognition. Pierce created a triadic schema of cognition; firstness is a quality, a holistic and undivided impression, secondness, a reaction to this first impression and thirdness, as a relationship of the first two and the basis for the next first impression. Peirce coined the term abduction roughly translated as a best guess bordering on intuition with an instinctual connection. Along with deduction and induction, abduction is one of the methods of reasoning. Alfred North Whitehead, mathematician and founder of process philosophy, developed a metaphysical notion of experience that is an aesthetic synthesis based on an intuition of patterns. Our ability to recognize patterns from our environment is essential for intentional action. The guiding influence on our intentions is an aesthetic synthesis, rather than rationality. The refinement of intuition is fundamental to discerning patterns that will bring coherence to experience. French philosopher Henri Bergson developed a definition of intuition that provides a balance to analytic thinking. Duration is the basis of intuition in Bergson’s ontology. Gilles Deleuze, in ‘Bergsonism’, recognized this definition as a methodology of intuition. The holistic experience duration is the same as that of intuition. Duration continuously bifurcates between attention to the multiplicity of the environment and the holistic recollections of memory. Deleuze’s methodology of philosophical inquiry begins with stating a problem as an invention. That is to say that the solution to the problem demands an invention. Intuition discerns which problem to pose. The problem posed by Intuitive Diagrams investigates the visual communication of patterns found within relationships of concepts and philosophical ideas. In working toward that end I have been inventing a system of imagery and a taxonomy of glyphs that interact as intuition and analysis. The creation of this system has impacted the ideas of the problem itself as I continue to find new patterns leading to new aesthetic synthesis. Content and expression are intertwined creating a form of thought that evolves and expands. The system is divided into four different operations that determine the interplay of virtual potentials and their actualizations. Within each operation are instances that represent specific lived experiences. Operations Actualizations of the virtual are carried out through four different operations found in complex systems. These operations define the vectors of movement between the virtual and actual. They can be thought of as tendencies towards different mixtures of the virtual, expressed through vectors, into actual coordinates of spatial relationships. In the above schema, the virtual is represented as 3 blank boxes. The bifurcation of experience is the first operation creating something; either a recollection or an awareness of the physical. Memory is represented as a space that has been bounded. The physical is represented as 3 objects, indicating the multiplicity of the physical world. Each operation influences the form that actualizes, either mind or matter. 0 represents virtual potential (rather than nothingness) and 1 represents something, or an actual event occurring. Experience occurs as a mixture of virtual and actual. 000 Holistic vectoral flux and flow without determination of actualization. It is a virtual smooth space that does not contain markers for distances or time. It has destratifying tendencies eliminating difference and and erosion of structure. Homogeneity giving rise to stratification. The virtual field of points of potentiality. It is the synthesis of multiples. 010 Something occurring forming a symmetry breaking, resulting in a contraction of potential into an actuality. The resulting focus is a sorting of smooth space into strata of content and expression along vectoral flow. The codifying of space and time by the formation of content and expression forms a stabilizing effect of a point attractor in phase space. In this sense it is a screen dividing chaos. It immediately bifurcates into the past or the future, between a memory or attention to the environment. The whole is split into two possibilities of which one will become realized. 101 A bounded resonance chamber creating the amplifying effect of vibrations through positive feedback loops. The aggregate behavior of molecular components of a medium give rise to emergent properties on a macroscopic level. These interactions can amplify or cancel each other. Coordinated action through frequency and amplitude. The past is a unified virtual potential, and a particular recollection is a bounded area of an infinite potential. The memory resonates with emotion before losing coherence. 111 Creation of multiplicity through novelty in open systems far from equilibrium. Awareness of the physical environment is a breaking down of which elements are included and which are not through contrast from a continuum. Folding occurring through differences and repetition. Duration dividing into the multiplicity of the immediate physical. Empiricism breaking wholes into parts through analysis. Drawings as Synthesis I have always been fascinated by the holistic nature of drawing. I can look at any drawing I did and immediately remember my state of mind, where I was and what was going on with me at the time I made the drawing. Drawing is a trigger for accessing holographic memory because at it’s creation there is a keen awareness of pattern. Drawing is a method of elimination. Eliminating the unnecessary is to get to the essential features that resonate with an aesthetic cohesion. The refinement of intuition in drawing happens through the discernment of contrasts that form aesthetic synthesis. Drawing is holistic, embodying intuition and intention with physical circuits and rationality. That is why I diagram out complex ideas. I am able to encode patterns of meaning as they relate to my recollections of other ideas and concepts that intersect and converge. The result is a diagram encoding holistic memory and relating abstract concepts through vectors represented by lines and shapes. In Peirce’s diagrammatic reasoning, diagrams are a-signying rules which form patterns of thought. Schematics Diagrams used in the deck of cards represent 15 key elements of complexity theory, geophilosophy and process-based philosophy. The intent is to communicate an iconic shorthand of emergence. Intuition is an emergent phenomenon that is both the cause and result of experience and is a synthesis of memory and perception. The 15 glyphs are combined in different ways by way of an overriding operation that is indicated by a binary number. This open ended system allows for endless interpretations and combinations. On each card back is both a schema and an operation that is predominant.