Artworks
Towards real democracy and better global governance
[Artworks] comprises a small collection of images of paintings, sculpture, digital art, audio clips and (slow) videos on the themes of the Environment and Being.
The current selection of artworks is listed below, with brief descriptions, in chronological order of completion. The backround to these projects is outlined in Introduction and Purposeful art. The 'artwork' selection criteria used are described in Table of art and audio categories [Insights]. Items not meeting the selection criteria, such narrative illustrations, can be also be accessed from Categorising the art projects [Insights].
Links to the selected artworks are given below. Brief descriptions are included. Further supporting material is provided in the Notes.
An experimental (algorithmic) music composition, arranged for string quartet. Audio recording of synthesised performance [dur.3'58"]. Produced in 1994.
The first of nine pages of the Life stage 8 score is included in Notes [Purposeful art]. If the user wishes to listen while viewing the score, a playbar is also provided.
Experimental music project [Purposeful art]
An experimental (algorithmic) music composition, arranged for organ. Audio recording of a synthesised organ [dur.1'36"]. Produced in 1995.
The full three page score for Organ 1995 is included in Notes. If the user wishes to listen while viewing the score, a playbar is also provided.
Experimental music project [Purposeful art]
Image of a painting in acrylic on 76 x 51 cm canvas board, completed in 2001:
A first attempt at expressing longstanding concerns about the unsustainability of human activities, for the purpose of awareness-raising, by means of a painting. Also the first painting produced since attending school, and a somewhat contrived effort at using visual metaphor [Notes] to represent cost externalisation [Power structure].
The intended mood of the painting is encapsulated by the music Leroy Kyrie (Taverner, c.1490-1545). A digital detail (A visual metaphor ) was extracted from the above painting in 2015, and a more explicit graphic Wake-up! [Notes] was also produced.
The images A visual metaphor and Wake-up! were later combined in a graphic titled The Urgency of the Situation [Issues]
An organised sound composition, combining conventional (plainsong) and algorithmic techniques, in the form of a short choral work titled An Anthem for Sustainability. The score, and a tape recording of synthesised performance from the score, were produced in 2000, for submission to a music festival competitionmimv . A studio recording, combining separate performances of each of the six musical parts, was completed in 2002. Production of this recording as a CD single [dur.4'10"] marked the culmination of my experimental music project. Grateful thanks to the artists and recording engineer, who are named in the Notes.
mimv Competition submission of selected experimental music 'compositions' was my chosen route for validation of the work. This is discussed further in Verification methodology used for experimental music compositions [Purposeful art]
The CD was primarily produced for the purpose of awareness-raising. Copies have only ever been distributed free of charge.
Anthem - copyright permission:
The lyrics have been adapted from World Dynamics by Jay W. Forrester, Pegasus Communications, Inc. © 1973
Notes: Anthem - lyrics
Notes: Anthem - algorithmic approach used
Notes: Anthem - three short score samples
Notes: Anthem - dance choreography
Contraction and Convergence
The design of the CD box leaflet-insert, shown at the top of this section, represents the concept of Contraction and Convergence. This term is usually attributed to Aubrey Meyer, who:
"almost single-handedly and with minimal resources, has made an extraordinary impact on the negotiations on the Climate Change Treaty, one of the most important of our time, through his campaign for a goal of equal per capita emissions, which is now the official negotiating position of many governments, and is gaining acceptance in developed and developing countries alike".
The above citation was given when Meyer won the Andrew Lees Memorial Award in 1998 for his work. In 2000 he also received the Schumacher Award for the continuation of these efforts (Meyer, 2000).
Notes: Anthem CD leaflet - Contraction and Convergence
However, despite this encouraging initiative, and as so often happens at UN summits:
"The London-based Global Commons Institute has proposed a global process of Contraction and Convergence, with equal per-capita allowances of greenhouse gas emissions for all the world's countries. This has gathered much international support, but implementation is being blocked by those with a powerful interest in the status quo" (von Uexküll, 2005, pp.47-48).
Furthermore, since a contraction and convergence type of mechanism was first mooted (Meadows, 1973, p.333), a 40 year scientific review of Limits to Growth scenarios showed that we are 'pretty closely' following the business as usual case. In other words, the real world trajectory is tracking the dire scenario represented in Anthem Part II ( Extinguishment), rather than the more sustainable path depicted in Anthem Part III (Exemplum).
The Club of Rome and Limits to Growth [Issues]
40 year scientific review of Limits to Growth scenarios [Issues]
(Meyer, 2000, p.11) spelled out that contraction and convergence was necessary to reduce massive global inequalities, and that an overall contraction was urgently required together with a rapid shift to new modes of living which respect the biosphere. A global emissions trading system could be used to ease the transition costs.
Carbon markets [Power structure]
By 2005, a study by (Meadows, 2005, pp.248-250) had pointed out that the longer proper action for global sustainability is delayed, the more we run out of options.
A woodcarving in lime with metal sidepieces; 70cm high, 16cm wide, 10cm deep. The "Modigliani-esque" proportions of the carving were chosen to make best use of the available block. Completed in 2009:
After digitally normalising the aspect ratio of the above detail image, and a little artistic licence with the lighting:
Image of a landscape painting in acrylic on 61 x 46 cm canvas board. Completed in 2009:
The idea of utilising light as a spiritual metaphor was first experimented with at an art course/ workshop in 2001, but without much success. However the idea was resurrected in 2009, after one of my daughters captured a photograph of a landscape after a storm. This almost exactly encapsulated the originally aimed-at effect, and so Breaking through of the light was painted, based on that photograph.
The use of light as a visual metaphor
Scientific materialism does not entertain any link with light and spirituality - "it's just physics". But an experience of mist lifting from the fells and skylarks twittering, or as in this image, of the light touching the hilltop after a storm can feel magical. Portraying dramatic light can be useful as a visual metaphor for the mystical, and for the laws of physics. It's all vibration, man. The technique is used again later in the slow-video Impermanence.
The use of visual metaphor [Insights:Notes] outlines more general metaphorical usage.
Digital art image of a spiritual healer in deep micro-healing meditation for a patient. The intended size for framing was A2 (59.2 cm wide, 42 cm high). Completed in 2010:
The composition was inspired by the teaching and healing work of Master Yap Soon-Yeong, founder of Chaoyi Fanhuan Qigong (CFQ).
The use of light as a visual metaphor [Artworks]
Image of a relief-carved wooden plaque, depicting a spiritual healer in deep macro-healing meditation. The plaque is 30.2 cm high, 23.4 cm wide, and was completed in 2010:
The composition was inspired by the teaching and healing work of Master Yap Soon-Yeong, founder of Chaoyi Fanhuan Qigong (CFQ). The plaque was made specially for him, on behalf of those attending his final UK CFQ residential retreat in 2010.
Image of a painting about mystical consciousness and transcending barriers between people. The original painting, in acrylic on canvas glued to 48" square 1/2" thick board, which is screwed to wood battens, was completed in 2011:
We live in a secular age. Even for the religious there are theological differences between the main world faiths which seem unbridgeable. Despite difficult times, the inner lives of a diversity of spiritually-inclined people are supported in various ways and by religious institutions.
Mainstream science views matter as the fundamental root of existence. Post-materialist science views the fundamental root of existence as universal consciousness - that it just Is; matter exists within Is-ness.
Post-materialist science and interpretations of quantum theory are discussed in [Moral compass].
Finding common ground [Moral compass]
A promising post-materialist idea for a plausible portal/ interfacial mechanism could be from a combination of Bernardo Kastrup's alters model (Kastrup, 2018) and filter theory:
"Metaphysical idealism fits well with filter theory, the framework emerging today in neuroscience and philosophy of mind promoting a more viable linkage between brain and consciousness. In filter theory, the physical brain serves as the reducing valve or filter through which universal consciousness, or the Collective Mind, is filtered, or allowed in, to our more restricted human perception of the world around us." (E.Alexander, 2017, p.63).
Filter theory [Being]
Background and context to producing the painting [Purposeful art]
The core concept of this painting is the long understood spiritual wisdom that Unity Consciousness just Is. Given this ultimate reality, it would make more sense if theological differences between the main world faiths were updated accordingly.
The title Feeling the Common Ground reflects both a literal and metaphorical basis for the core concept. A hybrid cathedral/ mosque space was suggested by the absence of an altar and congregational seating, and a single specially shaped overhead light source at the chancel centre. The intended mood of the painting is encapsulated by the music Spiegel Im Spiegel for violin and piano (Pärt, work composed in 1978).
Notes: Multi-faith group
Digital image detail extracted from the painting titled What have we done? and combined with a digitally processed photograph. Produced in 2015:
The image is intended to be a visual metaphor for the 'awesome face of nature', and the inherent justice and neutrality of the laws of physics.
A (slow) video contemplation about unsustainability and the Anthropocene. The video [dur.27'44"] is a simplified and shortened simulation of a Son et Lumière concept, intended for performance in a cathedral space for dramatic effect. Unusually the intended effect relies more on the contrast between sound and the absence of sound, than on visual information. At various stages during the performance, vertical light beams are used as a visual metaphor for the laws of physics, and in some cases beyond. It was completed in 2015.
Use of light as a visual metaphor
The start times given in brackets below [st.] refer to an Act start point in the website video. Each Act duration [dur.] is also given.
Please note - the video is silent until 0'32".
The original (over ambitious) idea was to provide a live performance in Paris at the time of the COP21 United Nations Climate Change Conference, December 2015, to which conference delegates would be invited. By using a specially designed programme [dur.~2h] of high quality pre-recorded repertoire music it was hoped to facilitate a gradual opening up of audience participants to a felt appreciation of the natural order; the seriousness of the situation; the sheer scale of the challenges we face, and to some deep philosophical questions.
Notes: Background to the original Son et Lumière idea
Context and outcome [Purposeful art]
For various reasons it was decided not to attempt to deliver a live performance event in Paris. A full-length simulation [~2h] of the original performance concept was produced on DVD and licensed for limited production. This comprised the full pre-recorded music programme, illustrated by a simulation of the proposed light show. It had been intended to show the full video online, but this was not possible because of copyright restrictionscr on the use of the pre-recorded music programme. It was also deemed to be too long.
cr Some of the audio tracks on the original Son et Lumière programme were available in the public domain; for example tracks Tracks 5a and 8a were to be two audio tracks from the album The Second Law by Muse; Unsustainable and Isolated System respectively. But while the music tracks were available on YouTube, they were accompanied by Muse's video content. A similar situation applied to audio track 8c, which was to be Spiegel Im Spiegel, composed by Arvo Pärt.
An appropriate choice of 'stage set' was needed for the simulation. A cathedral or abbey seemed a logical choice, since the original Son et Lumière was envisaged to take place in a cathedral.
Instead it was decided to make a simplified and shortened version, and to compose original music cameos. While these cameos do not have the quality or gravitas of the originally intended recorded music programme, they at least solved the copyright problem.
Index and playbar links for audio extracts and video clips, from the short online version of Impermanence, are listed in the following note.
Notes: Index and playbar links for audio extracts and video clips
Digital art combining images from several photographs, December 2017:
The image points to the difference between a subjective experience of reality using 'virtual reality' technology, and a subjective experience of reality perceived directly through meditation. Both subjective experiences require conscious awareness. However sophisticated the 'virtual reality' equipment used, even if it involves increasingly invasive human-machine interfaces, the virtual reality conveyed will still be a simulation. That simulation still has to be interpreted through conscious awareness.
Such technology cannot claim to be a consciousness-replacementcrtnp , whatever the marketing arm of the AI world might want us to believe.
crtnp The science fiction drama television series Humans (Wikipedia: Humans (TV series)) strongly conveyed the message that consciousness-replacement technology was possible. This strikes at the heart of the materialist/ post-materialist debate (see links below).
Consciousness is thought by scientific materialists to be an emergent property of the brain, for example (Scott, 1995), whereas advocates of idealism/ non-duality view the brain (and all matter) as existing within consciousness.
The present moment and lifestyle choices [Life choices]
Life choices, free will, and values [Moral compass]
What is conscious Awareness? [Moral compass]
Stylistically the Reality check digital image (above) seems a contradiction in terms; a brash graphic purporting to symbolise a controversial metaphysical concept. Two more refined images had been produced in 2010 (The healer and The healer, II ), but it was decided not to exhibit these in the artworks selection in deference to materialist viewers.
Digital art image, 2019:
The context of the image is about the choices we make in life.
The present moment and lifestyle choices [Life choices]
Man wants more [Life choices]
Link to section Organ 1995 referencing the note below.
Full three-page score for Organ 1995
Yes, it would have been better to have tied some of those introductory notes, for the organ arrangement.
Link to the section What have we done? referencing the notes below.
A contrived use of visual metaphor
Visual metaphor, using just-plausible elements, was used to confront the viewer with the awesome face of nature resulting from the inherent justice and neutrality of the laws of physics.
A brain-shaped cloud was used to facilitate recognition and ownership of the problem of climate change, and about the key role and mechanisms of cloud formation and 'earth system processes' in general.
The hint of a face (for nature/ reality) was suggested by the judicious placement of additional, just-plausible elements; foreground gulls, a distant jet aircraft flying directly overhead with dirty exhaust, and a distant tornado tail. The viewer is obliged to see the face through 'spectacles' formed by a sculptural lamina on the beach. The lamina is intended to symbolise a clearer vision of how economic growth externalises/ financialises environmental and sociological costs, in order to maximise profit.
The lower element of the lamina denotes the bottom-line (profit). It is represented by a horizontal dollar shape, coloured black to depict crude oil (black gold); oil of course being a dominant source of profit, and the combustion of fossil fuels a major contributor to climate change. The middle tier of the lamina denotes environmental cost. It includes a euro-shape as a homage to the European Union, which was believed to be constructing enlightened policies aimed at addressing unsustainability. The upper tier of the lamina denotes sociological cost.
The cloud shape is aso intended to hint at the characteristic mushroom cloud whih is associated with the detonation of a nuclear weapon.
The use of visual metaphor [Insights:Notes] outlines more general metaphorical usage.
Wake-up graph - showing an earth system tipping point
This illustrative image was contrived to invite reflection upon the massive scale of human impacts on the planet during just the last 150 years or so; a mere blip in planet earth's 4.5 billion year history. The graph shows the viability of a particular species against time, showing the period before an earth system tipping point. No-one knows how long Homo sapiens will survive.
Link to An Anthem for Sustainability referencing the notes below.
Anthem CD box back
The resolution on the above image is high enough to enable zoom magnification if necessary.
Anthem - lyrics
The lyrics have been adapted from World Dynamics by Jay W. Forrester, Pegasus Communications, Inc. © 1973.
The work has four sections, beginning with Exordium which is sung in a plainsong style. It opens with the following words:
This leads to a complex six-part choral section Extinguishment which refers to a recent period of earth history and extends forward into the future. A scenario is presented which depicts how certain global average parameters, for example global population, have changed in the recent past and could change in the future. For this section of the Anthem the model simulation covers the time period 1932-2188 AD. The magnitude of each chosen parameter increases with musical pitch. The six chosen global average parameters are:
The lyric for each choral part is generated by repeating the appropriate parameter description on a cycle. After a pause, the third section Exhortation reflects on the devastating consequences of the previous scenario, sung in a plainsong style with the words:
The final section Exemplum depicts an alternative scenario to Extinguishment, restarting from the same historical point. In this case, however, the fanciful assumption was made that from the year 2000 AD a paradigm shift in human attitude took place, on a massive scale, in favour of more sustainable living. This highly contrived situation resulted in a measure of stabilisation of the six global average parameters by the end of the 21st century. The choral part lyrics used are the same as for Extinguishment.
It was originally intended that this piece be performed with a choir in a building with a reverberant acoustic, preferably a church. In 2002 a 'chamber scale' performance of the anthem was studio-recorded on CD using multi-tracking with 3 soloists covering the 6 parts.
Anthem - three short sections of the score
The lyrics have been adapted from World Dynamics by Jay W. Forrester, Pegasus Communications, Inc. © 1973.
First bars 1-3 of the score:
Bars 25 and 26 of the score:
Final bars 55-57 of the score:
Anthem - dance choreography
In 2012 a professionally choreographed contemporary balletic dance routine was performed to the CD recording of the organised sound composition An Anthem for Sustainability, before an audience of about 100 people at a private function. A photograph of the final dance lift was captured by a member of the audience. Thanks to C.Chopping for permission to use the photograph.
The lift is a digitally processed image, based upon that photograph, 2012:
Anthem CD leaflet - Contraction & Convergence curves
Link to Anthem: Contraction & Convergence referencing the note below.
A simplistic description of the basis of the Contraction & Convergence (C&C) curves is shown on the CD leaflet-insert. The curves show a desirable contraction and convergence towards a sustainable level, over time. The upper curve depicts adverse environmental impact from rich countries, and the lower curve shows corresponding adverse impact from poor countries. The adverse impact parameter could be greenhouse gas emissions, as in Aubrey Meyer's C&C mechanism (Meyer, 2000), or in principle, any aggregated adverse impact.
In principle a current average footprintfp of the species could be obtained by assessing the total adverse human impact in some appropriate way and averaging it over the total number of people in the world. But it would clearly be skewed by the excessive proportional impact of the rich world. The absolute contribution towards the total human impact from the poorer countries is small compared to that from the rich countries.
fp The footprint concept was developed by (Wackernagel, 1998).
When it comes to paying for ways to reduce human impacts, such as climate change, it is not just or fair to expect poor countries to pay the same, per capita, as rich countries; given that they did not contribute significantly to the problem. It is more just and fair that rich countries should be expected to reduce their impacts while poorer countries can be allowed to increase theirs, up to a fair share per capita.
Link to section Feeling the common ground referencing the note below.
Feeling the common ground: multi-faith group
The image depicts 5 males and 2 females, seated within a notional sacred space. Individuals within the group are shown engaged in meditation/ prayer/ contemplation/ worship appropriate to their particular mystical spiritual perceptions. As far as practical, care was taken over the authenticity of prayer/ meditation/ worship postures and clothing, and to the physical orientation in relation to Jerusalem and Mecca.
The individuals were taken to be representative of the main religious faiths, with the number of individuals taken to be roughly in proportion to estimated number of adherents to each world religion (1 Buddhist monk, 1 Hindu guru, 1 Jewish [Kabbalah] mystic , 2 Islamic [Sufi] mystics, and 2 Christian mystics). As in real life, significant compromises were necessary in order to reconcile conflicting requirements when attempting to devise a coherent and workable artistic scheme. In the picture, individuals were allocated to represent major civilisations, with prayer/ meditation mat designs chosen to indicate approximations to national flags.
The image of the building for the painting was constructed from an Early Italian Renaissance basilica-type church groundplan, which is believed to be of Brunelleschi's Santo Spirito in Florence. However, Tuscan columns were incorporated in the painting because these had simpler-to-draw capitals than those which would have been built.
Link to section Impermanence referencing the notes below.
Background to the original Son et Lumière concept
Link to section Background to the original Son et Lumière concept; referencing the note below.
Naomi Takagi and Listen to the Pulse of the Planet
A chance encounter with the late Naomi Takagi, a professional organist, led to an interesting collaboration. Naomi believed passionately in "... the universality, the unifying power and the healing nature of music". She wanted to use music to mobilise and engage people of all ages and nationalities to care more about protecting our planet. At the time she was organising a music concert titled Listen to the Pulse of the Planet (Anon., 2013a). This "... was the call for a concert on 24 January 2013 in the Yehudi Menuhin Space in the European Parliament under the patronage of Vice President Isabelle Durant. Some 45 musicians from the European institutions and the children's choir of the European School Brussels performed the Goldberg Variations of Johann Sebastian Bach.
Naomi was planning another live performance event, part 2 of "Listen to the Pulse of the Planet", to coincide with the Paris COP21, and the overlap of interests and concerns soon emerged during discussion. Naomi seemed to genuinely appreciate An Anthem for Sustainability , and expressed great interest in the algorithmic composition project in general.
Experimental music project [Purposeful art]
A collaboration with Naomi
In a personal email dated June 4 2014 she wrote: 'The question is how to take the "Listen to the Pulse of the Planet" to the next level. Would you have any suggestions?' It was this challenge which inspired my idea for the Son et Lumière concept. She was very impressed with the emotional impact of the proposed recorded music playlist and programme. But while very enthusiastic about the possibilities for a large scale future event, she thought it was far too ambitious to be incorporated in her intended Paris concert. It was also not clear how our two very different approaches might be integrated. Although any public performance of music affects both performers and audience members, Naomi's concept of the transformative power of music was primarily to be realised by the live performers, whilst the transformative effect of my Son et Lumière concept was primarily to be realised by the invited audience of COP21 attendees through a recorded music programme. She had links with the CoR-EU (see below), and had encouraged me to approach them with my ideas.
Very sadly Naomi died in January 2015 after a period of illness.
Links with the Club of Rome in Brussels, EU Chapter (CoR-EU)
After Naomi's passing work on the Son et Lumière concept continued, and a simulation of it as a licensed DVD was produced. In August one of my daughters initiated a dialogue with the President of the CoR-EU. He had thought highly of Naomi, and had planned to develop another project with her following Listen to the Pulse of the Planet. He initially expressed interest in setting up another event as a tribute, possibly linked to COP21.
A small email-based group was formed to progress the idea of a possible event; the group included a former European Commission official who was familiar with Naomi's work. Following further email-discussions it was agreed that my daughter would attend an event at the CoR-EU on September 9th, at which she would give the President a copy of the DVD. I had proposed that a private viewing of the DVD be held at the CoR-EU as a next step. Following receipt of the DVD, the President expressed interest in the proposals and said the Board secretary had screened the DVD, in his absence. The possibility of a CoR-EU event linked to COP21 would be raised at the next meeting of their Executive Committee. I informed him that a shortened version of the simulation was now available on a website, and he distributed the website link to the ExCom members.
The final outcome was that the CoR-EU were unable to host an event linked to COP21. This didn't mean that they wouldn't be willing to collaborate on other projects, for example one linked to a follow up of Naomi's work, but that any project should be clearly linked to the EU.
Index and playbar links for audio extracts and video clips
Link to section Short version of simulation video, with my audio clips, for online presentation referencing the note below.
The start times given in brackets below refer to the audio extract or videoclip start point in Impermanence. The audio extract/videoclip duration is also given. These start-times are usually later than the Act start-times given above, and the durations usually shorter than the Act durations unless an audio-track is extended between Acts.
Playbars for audio extracts and video clips:
In the beginning : Audio extract from Part I, Act 1 [dur. 1'32"]:
A habitable planet : Audio extract from Part I, Act 2 [dur. 1'39"]:
Early man : Audio extract 1 (with didjeridoo) from Part II, Act 3 [dur. 1'49"]:
Medieval man : Audio extract 2 from Part II, Act 3 [dur. 0'30"]:
Acquisitive man, Video clip 1 from Part II, Act 3. The final section includes text from video clip 2 in silence [dur. 3'34"]:
The issues raised in this clip are addressed in [Power structure] and [Life choices].
Corporate man, Video clip 2 from Part II, Act 3. Revised to improve text readability [dur. 0'53"]:
The issues raised in this clip are addressed in [Power structure] and [Life choices].
Exordium (taken from An Anthem for Sustainability: Part I) : Audio extract 3 from Part II, Act 3 [dur. 0'46"]:
Taking stock : Audio extract from Part II, Act 4 [dur. 0'48"]:
Exhortation (second part) (taken from An Anthem for Sustainability: Part III) : Audio extract from Part II, Act 5 [dur. 0'24"]:
Decay : Audio extract from Part II, Act 6 [dur. 0'19"]:
Exhortation (first part) (taken from An Anthem for Sustainability: Part III) : Audio extract 1 from Part II, Act 7 [dur. 0'14"]:
Hope or despair? : Audio extract 2 from Part II, Act 7 [dur. 0'51"]:
Last hope : Audio extract 3 from Part II, Act 7 [dur. 1'05"]:
Desolation : Audio extract 1 from Part II, Act 8 [dur. 0'51"]:
Acceptance : Audio extract 2 from Part II, Act 8 [dur. 0'59"]:
Tranquillity : Video clip from the end of Part III, Act 9. Shorter credits than for the main video [dur. 1'42"]:
Top [Artworks]
This page last updated 25-04-25 [day-month-year]
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