Info: Pragmatism, Models and Reality

The Document:

Pragmatism, Models and Reality

A personal study.
Presented to students of the Research Professional Studies group
Aki School of Fine Art, Enschede

Visual link to
            "Pragmatism, Models, Reality" pdf text file

Written: Amsterdam, October 1992
Scanned: Baclayon, November 2015

Section I:   On Models
-Experience and Desire
-Goals and Knowledge
-Understanding and models

Section II:    Some Theoretical Tools
-The Media
-Meta Languages
  • Language
  • Systems
  • Space
  • Logic

Section III:   Power and Control
-The Paradox of Power
-Forms of Power

Section IV:   Some Models
-Ecological Systems
  • Living Systems
  • Social Systems
  • The Human Body
-Polemical Systems
  • The Military
  • Games Theory
-Artificial systems
  • The Computer
  • Artificial Life and Intelligence
-Sub Atomic Systems

Section V:    The Reality of Language
-Models and Reality
-Old and New Science
-Topological Constancy
-Language and Culture
-The Final Answer

Basic Aim of the Text:

"Creative Thinking"  is not only important within the context of art education.

Whenever new blocks of phenomena force changes in the patterns of thought..... even the most eminent of scientists face an enormous problem. Because the required change in thinking can give the feeling that the ground disappears from under ones feet....... I believe this difficulty cannot be overestimated. If one has once seen the despair with which sensible and quiet scientists react to the demand to change the existing pattern of thought, then one can only be surprised that such revolutions in science are generally possible.


Most areas of life probably benefit from a creative approach to problem solving. However, certainly for those brought up in a Western (Greek-Christian) tradition "REALITY" soon places heavy restraints on any attempt to change the existing situation.

Apart from the psychological barrier imposed by the need to find a way to break through the concrete walls presented by "REALITY" -there are also social barriers: The creative person is often told to be "PRAGMATIC" if dreams deviate too much from the accepted fashion.

As a result, the sensitive soul is tempted to ignore the norms and values of mainstream society and to dream of other ways of Being. Indulging in fantasies that by standards of Pragmatism and Reality can never be realized.  Such a path can easily become a form of automatic self-disenfranchisement -if it retreats from engagement with the problems it wishes to solve.

The other (postmodern) tendency, is towards denial of all forms of restraint. Virtual systems become the main mode of operation -and physical reality is considered to be subservient. Nothing can be considered to mean anything in an "objective" sense -because the power of the mind can reshape it to be whatever the mind wishes. Personally, I do not trust this approach -because I suspect that there are (physical -and perhaps other) restraints which lead to disaster if ignored.

In fact, from experience, I have learned that there is a "Good" way to do things -which leads to success -and there is a "Bad" way of doing things that inevitably leads to failure and often disasterUnfortunately, the road to Hell is indeed paved with good intentions.

So how is one able to "dissolve" the Hard Reality of the status quo into the Soft Putty of creative thought?

For me, the answer lies in the power of "REPRESENTATION" to find a middle path between concrete reality and mental putty: For centuries (perhaps millennia) men have dreamed of flying -but PHYSICAL REALITY stood in the way -until humans were able to represent the problem in ways that did not actually change the laws of physics -but enabled them to utilize those laws in ways that were considered impossible before.

So, if we can just understand our representations (and the way they relate to the things represented) enough to use them effectively -then perhaps we can all learn to fly -and the space beyond the sky will become our creative medium. As long as we apply this knowledge in a "Good" way. Otherwise -like the Sorcerer's Apprentice -we shall surely create disasters for ourselves.

The text Pragmatism, Models and Reality tries to explore the "Good" way to do things. Preferably without prejudicing the interpretation of  "Good" -which remains a subjective choice, depending on individual or group criteria.

The text is a conceptual sketch designed to help develop a language that can be used to understand, develop and explore the creative process.

On one level, it could be interpreted as a study of the pragmatic relationship between innovation and the status quo.....

By Exploring "Representational Systems" -it is part of an investigation into the Role of Art.

1.1.b The Need for Practical Understanding:
             Obviously we shall have little success if we only invent
idealistic theoretical solutions and then blame the rest of
the world if our solutions don't work.

Ideally, we should test our solutions and understand why they
they fail if they are not successful. We should also be open to
the practical objections of others. <THE ROLE OF ART IN SOCIETY>


Notes on additions, errors and explanations:

Page 8: (hand written addition)
A specified desired effect implies that a specific action is required (effect is known => Tool)
An experimental action explores possible results (effect is not known => medium)
This is to emphasize and clarify the difference between a "creative" medium and a non-creative tool. Many people claim the computer is "just a tool" and then they are surprised by the way its use seems to change their lives in (sometimes) quite radical ways. In this case, people may think they are simply using a tool for a well defined and standardized procedure -but in fact they have introduced a medium for change: Something which needs to be explored in its own right with regard to how, and why, these changes are difficult to avoid.

With regards to "language" (in the broadest sense) it is also important to understand the difference between implementing a well known language (or model) in a specific context -and trying to develop a language for that context because no known (satisfactory) language is available. One is like being in a known environment with the light on -as opposed to being in an unknown environment with insufficient light to navigate safely.

Page 10: (the term "Expression")
In this context, the term "Expression" is used in a technical sense.
In mathematics, an expression or mathematical expression is a finite combination of symbols that is well-formed according to rules that depend on the context. Mathematical symbols can designate numbers (constants), variables, operations, functions, punctuation, grouping, and other aspects of logical syntax.
Examples - ‎Forms - ‎Syntax versus semantics - ‎Variables

Page 12: (hand written addition)
Science        =>  Creating or Testing a language
Technology  =>  Using a language
This extends the written comment on Page 8.

Presumably, it is clear that scientific research involves the development of (theoretical) models of  phenomena that are not yet understood. While technology (although it may have a development phase) is generally associated with (practical) products and processes that actually work and can be generally relied upon.

In that sense, one could argue that Scientific method is a medium for research -while Technology produces tools for specific tasks (although collectively, these tools can add up to quite a powerful tool box).

Page 13: (hand written addition)
Tool         =>  Semantic priority
Medium  =>  Syntactic priority
If a tool manifests a focus on results, then it surely has a Semantic bias
If a medium manifests a focus on grammar and process, then it surely has a Syntactic bias

Personally, I am rather irritated by people who seem to insist that "Form" and "Content" can be separated.
So perhaps the concept of "focus" can help clarify the problem. Modern entertainment companies, do indeed sell "Formats" (i.e. Skeleton programmes) which leaves the buyer/producer to supply the "Content" (or substance). In this context, it would seem that "Form" and "Content" are independent. However, the finished programme (as seen by the viewer) clearly has a Syntactic aspect and a Semantic aspect. Presumably, in this case, the "Syntax" (Format) has a powerful influence on the Semantics (Content) of the programme (otherwise: What on earth is being sold?). However, in a normal creative context, such a commercially profitable strategy (for uncreative programme makers) may not be very suitable. Just because the entertainment industry likes to focus on just one aspect at a time (making money from mass audiences) does not meant that a healthy change of focus is not more creative (productive) when problem solving  generally.

Exchange c <-> d
If the text were to be reprinted, then perhaps it would be advisable to swap items c and d -to create a more logical build up of ideas.

Page 19: (Memory and Space:)
"we would need 30 variables"
This is an huge error: For 10 time points -each one with a value t (for time), x (for x dimension), y (for y dimension) and z (for height) we would still have 3 dimensions for each vector at each time point. We would need a four-dimensional representation to show the data -and we would have a set of time points {t} with each point being a three-dimensional vector {x,y,z}. We would have ten (three-dimensional) measuring points (the ten vectors) which would then need a total of 40 values to represent all the data (time (1) plus position (3) multiplied by 10) .

"two dimensional matrix"
The two dimensional representation described is possible -but maybe rather clumsy. I suspect that I suggested representing the data in two dimensions because visual art students are used to working in two dimensions on paper.

More efficient might be the use of a four dimensional matrix: {{t1, x1, y1, z1} {t2, x2, y2, z2} {t3, x3, y3, z3}....... } such that p {2,2,2,2} => {t2, x2, y2, z2}, However, this would also allow the potentially undesirable tp {1,2,3,3} => {t1, x2, y3, z3} which would probably be meaningless in this context....

The representation given in the text could be written out like this: {{x1, y1, z1},{x2, y2, z2},{x3, y3, z3}} such that tp {2,2} => {t2, y2}. This would prevent values from different time points being mixed up.

As can perhaps be seen -the number of "dimensions" is somewhat arbitrary -and the result of the representation more than a physical characteristic of the subject being represented. The context in which the representation is to be used often determines the best representation strategy. One should not confuse the moon with the finger that points to the moon.....

It should also be noted that computers often start counting with zero (0) -while humans usually begin with one (1). I regret that I may have mixed the two styles in the text and this may be confusing.

Page 23: (Mapping:)
"The two dimensional space of the screen is, in theory, topologically identical to the two dimensional space of the screen "
Obviously a "cut and paste" error: 
The screen should be topologically identical to the slide (image) being projected onto it..... Or it will produce a distorted image.

Pages 27 and 28: (Scanning Error)
Due to a technical glitch (or an impatient operator) pages 27 and 28 are (partially distorted) copies of page 26 and should be ignored.  The .pdf file was automatically generated by the scanning process -and so not easily corrected.

Pages 35 and 36: (Scanning Error -duplicate pages)

Pages 40 and 41: (Scanning Error -duplicate pages)

Page 42: (Justification of Power)
The list presented perhaps should read:
-Physical power and reward for supporters
                -Justified by claims of pragmatic neutralism  
-Claims based on supporting tradition or historical ideology (status quo)
                -Justified by claims of historical romanticism and stability
-Claims (by disenfranchised) based on criticisms of tradition or ideology
                -Justified by the need for change (for all)
-Claims to end anarchy and fill power vacuums
                -Justified by claims of stabilization
In this context, local myths and folk -tales can provide fascinating evidence of past power struggles -where heroes and villains often change places according to geographical location and past histories of allegiances.

Clearly, winning the ideological battle saves a lot of lives being lost in physical combat.

Page 43: (Conceptual Polemics)
The term "apartheid":
This text was written in Holland -which has a traditional social system based on parallel social groups (called "zuilen").
For example: There will probably be a local Catholic fishing club, several local Protestant fishing clubs of different types, a Secular fishing club and perhaps even a Muslim fishing club. These will then be represented in various regional "umbrella" organizations culminating in a National Federation of Fishing Clubs.

Presumably, this was the original model for apartheid in South Africa -which was unfortunately tainted by racism. However, in the original Dutch system (in theory at least) -all the different social pillars were equal, but separate.

No doubt the Dutch system does remove conflict between social groups -because there is little contact between people of different groups -and so conflict tends to be manifest by competition within the group.

This is the opposite of the British "class system" -which is very aggressive between social groups -but generally very supportive within a group.

By using the term "apartheid" I was thinking of the Dutch system (and not the South African system) but used the Anglicized tern because the Dutch term "zuilen" would not be recognized.

The terminology should not distract from the central issue -which is that there are apparently both sympathetic ways and aggressive ways to deal with differences of opinion. Both have advantages and disadvantages -and it would be advisable to understand these, in order to use the most practical strategy in any given set of circumstances.

What should be, or not be, avoided?
What is unavoidable?
How can the unavoidable be reconciled with the unacceptable?


                                                                                                                                                         Trevor Batten

                                                                                                                                                                                   <trevor at>      
                                                                                                                                                  Baclayon, November 2015

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