Paper on FCM as alternative to object-orientation: Paper on Clear Ideas: Paper on FCM & robots: Science and 'Small is Beautiful' Economy: Learning PMN:
G15 Intraplates Multiversity ///// /// Art, Dance, Hard tech, Soft tech, Programming education /// ///

The G15 INTRAPLATES MULTIVERSITY has Art and Technology as its twin sides. Do you wish to learn to paint or draw in what SRW calls 'muse-impressionistic' style, or in general would like to create choreography or design with relevant inspirations? The G15 Multiversity has first-hand teaching and indepth studies leading to natural, efficient inner learning of a number of relevant fields. As background material, links are available at such a place as our portal site Pls also read a general outline of the approach to art in the following paragraphs, as laid out by the founder of G15 Intraplates, S.R. Weber, or SRW; cfr his own artworks at The programming language referred to as G15 PMN is made by the same author, in his other pen name Aristo Tacoma, and its main source site, for those interested in setting it up on a PC is this. Those who wish to explore, nondogmatically, all sorts of themes from art to science, from logic to dance, from meditation to the tantric, can also be helped by the series of essays included in The Art of Thinking. An excerpt of the first chapters of the one-volume compact edition of this five-volume book is here, available, free {since October 8, 2015): as pdf. << FREE EXCERPTS OF BOOK.

* Art in the 21st century: an approach to art and the teaching * of art as painting, dance and design, and in related fields * * by Stein Reusch {pronounced rather as "roysh"} Weber, SRW * * First of all, thanks to technology--and it should, for artists, * be seen as a great contribution indeed--art no longer has to * imitate life. We no longer have to put painters on the site * to get a snapshot of events. Photography does an excellent job. * The cameras faithfully pick up the photons as they arrive, and * represent some kind of visual impression with remarkable detail * and sometimes with a sense of motion and depth to it. And, as I * often point out, there is infinitely more movement to a welldone * photo than to a video. Dance can be conveyed through a photo * straight into the brain, creating a movement within. The sense * of illusory, over-done imitation as by a video of the dance may * create a certain addictive or hypnotic type of shallow admiration * and in some cases provide some information on sequences, but the * freedom to visualize the movement isn't part of the video. The * video is a pouring forth of photos by a speed of 25 or more pr * second, creating an illusion which however doesn't have any of * the real life participation possibilites. * So when you watch real dance in real life, you are breathing * the same air as the dancer, and you are taking care to sit still * and not making distracting noises, and your whole body can pick * up the event and the tension and beauty of it. Nothing of this * should be imitated by technology nor will it ever be faitfully * represented. The presentational immediacy of the moment is * beyond what technology can give. * However, the photo can provide a kind of 'warp portal' for * the mind to re-enliven itself to be as it were present on the * dance. And there is no doubt that the ease with which a modern- * day artist, having technology available, can surrround herself * with photos and music, can create a sensation of learning, * which is real: a great many impulses as to the knowing about * anatomy and so on can come forth in the brilliant mind of the * young art student this way; and the professional artist can * likewise work both with live models and with welldone photos * and achieve exhilleration and vivid visualisations that way. * Now, having this veritable "ode" to technology behind us, * let us however caution ourselves as to one thing: that art, * when it works too much on the details, too much on the * representation of substance, too much on the 'explanation' * of what it seeks to show, can become an instrument of laziness * for the mind--which we must avoid. In short, we must avoid * the temptation to be imitative in our artworks. The photography * cannot but be imitative. It is that way by its very nature. * But then, however important the photographer is, however * important that the design, style, setting of light, etc, and * the model or models are, photography is still the work of * a dumb slave-like pixel-recording automaton, a purely * mechanical device, a machine with no pretense of having a * mind in any way whatsoever. Right? And so it is the propostion * of this artist that in the long run, humanity should be ready * to put constraints on the use of too many pixels and too many * colors when it comes to the technology of photography, and * rather consciously choose to limit the expression somewhat, * in particular to the bright/spring green tone range. But that * is another story. * Rather, our quest is: what can we do, as artists in a * society that has as much technology as it wants, so that we * let the imitative solely belong to the art of using a camera, * and as artists do not engage in mind-dullening imitatation but * rather to that which creates a movement within, in the soul, * in the souls, in the spirits, of the observer? How do we avoid * the taking-away of the creative component of the moment of * observation? We must leave something out, indeed we must leave * much out: and yet not so much out that we blunder along in * a mess of half-geometrical shapes with little liveliness * about them. * There has been an attempt by people of a certain attitude, * which, to use a nice word, can be described as people having * a rather "mechanical worldview", to say that what visual art * must be in a technologized society must be "non-figurative", * and there has been a tendency of some to associate the word * "contemporary"--which simply means "present now, in the moment, * in these days, in these times"--with something that for some * unclear reason must be non-figurative. This has been the * approach taken by those of a mechanistic worldview, who has * sought to define such as painting art too harshly as having * to cut out a completely separate pathway than that which has * anything to do with the richness of human anatomy. * This development, although psychologically fairly * predictable, begun in the late 19th century and strengthened * itself through the 20th century and a number of major players * have been heralded by folks in the art business, people who * have had a sense of jubilance over the ending of focus on * living human beings and their anatomies, as milestone workers * signalling an evolution in understanding of what art has to * be and must be in the future. * Yet, however, through all these developments there have * been--not just in art, but also in other areas that have * seen similar strands of change--a significant group (if group * is the world I want) that have not agreed, whether in terms * of their rendering of art history nor in terms of economy * to such a description of how contemporary art must be. * And by the re-enlivening of the thirst in the many to see * more of beautiful human anatomy through the coming of the * digital photography and computer network sharing eras as of * the last decade of the 20th century and obviously into the * 21st century, there is also a similar rebirth in figurative * painting as part of the contemporary art landscape. * Yet the philosophy both of figurative painting and of the * non-figurative or socalled "abstract" (though it isn't really * abstract in most cases) painting have in them questions about * reality relative to art that haven't been clearly answered, * in the viewpoint of the undersigned. * For non-figurative approaches--while they do not imitate * exactly--don't contribute to the coherence, vitality and * general well-being and integrity of a room as much as * some vaguely more figurative paintings can do, not if we * consider the natural need of human psychology for a range of * life-affirmative, dance-like stimuli so as to work and think * and feel holistically about whatever is at hand. We must * remember that paintings are also generally made with an * intention to be be up somewhere, generally at some wall in * some kind of domestic or office-like environment. And the * psychology of people isn't people-made: it is part of the * essence of what it means to be a human being, and the mind * and its feelings follows orders not man-made but intrisic * to our being and innermost essence. This also touches on the * spiritual and on the notion of how paintings can hint at * "muselike". Of course, the ancient hellenes, in ancient * Greece, the notion of the muse--which in more modern terms * has similarities both with "angel" and "goddess" {more about * this elsewhere, cfr links from}, * involves a flowering of goodness created by a being who * exhibits the upward-pointing tantric force of the child with * the forward-pointing tantric force of the young adult girl. * This flowering can impart itself, to some extent, on normal * human beings, and those who are endowed with a muse-inspiration * then can make works that in human society are seen as grand * and creative. For instance, one can argue that the creative * individual Leonardo da Vinci had a certain muse-like experience * relative to his phenomenal painting--as he carried around * for a long, long while--of his Mona Lisa. * The muses, then, combine uniquely the child and the adult, * and we can learn from this as background to our paintings. * However--to get back to the question--when we seek in * a painting to render reality too concretely, we come into * something of an overlapping field with photography, where * the mind of the painter strives to make reproductions of * the lights so as to reduce the need of the use of the mind * of the observer of the result. To honor both the mind of * the painter, and the mind of the observer of the art, there * must be a certain meditative togetherness, which is able to * go beyond any need to fill in details of the type that the * mind can provide itself. Then advantage of a painting of * such a type--which comes nearer what we conventionally * call 'sketch' or 'drawing' than many of the classically * figurative paintings of the 20th century and before--is * that, just as a well-done photo is more open to inner * activity and variation visualisation possibilities than * a video, so as such a more open-minded, less substance- * filled-out painting more able to embrace various mind- * possibilities in the moment. To again use the phrase of * "presentational immediacy" (which A N Whitehead introduced), * there is more such immediacy--more relationship, we can * say--which presents itself directly, and not by means of * a medium but as a relationship between observer and the * observed (cfr Sanskrit "Tat Twam Asi")--when we have a * painting dedicated to the idea of the form more than to * a slave-like, machine-like rendering of the form. * This, then, leads us to a certain stance of what we * can call a "muse impressionism": it is impressionistic * in that we do indeed stand in relationship to something, * and in particular to the girl or girls shining with * a sense of gracious, majestic gift of that which * combines the charm and "free wave" of the child and the * character and sophistication of the young adult,--but it * is also knowing in the "art of unknowing", to put it * slightly paradoxically: it sees the painting itself as * a kind of muselike instrument, for it doesn't want to * tell too much about anything EXCEPT of course that it * is dedicated to that temple of the spiritual and divine * that the young healthy longlimbed beauty woman is all * about. Surround yourself with such painting-like sketches * or sketch-like paintings, in colors deliberately calm * yet stimulating, such as with blueness and with touches * of the spring green in between the spacelike patches, * and you'll experience that all modes of life can * flourish better and more truthfully. That's how I see it; * and the muse impressionistic style of painting, which * has come about by being intent on connecting to what * types of paintings truly make sense for the wholeness * of the both spiritual and professional human being * in rich unfoldment in daily life, has in it much * promise. It is also fun to do; and while it may require * a lot of development in the artist in the intuitive * realm, not to speak of the necessity of thousands and * thousands of drawings as a constantly renewed background, * it is what I believe should have the economical support * of any aspiring society. * When we seek to take such inclinations into the area * of choreographing dance, the challenges--especially * for girl artists--is to be able to take the point of * view of the observer, quite genereously, as well as * step back into the point of view of the dancer and * dancers, who seeks a spontaneous unfoldment. There is * the dialogue between a trained-in vocabulary of * esthetical postures, and the impulse of the moment; * there is the dialogue to connect to the new radiance * of this moment's potential beauty and story, and to * hold back, shield, cover up beauty so that it doesn't * "shine itself out" too fast. There is also, of course, * the inner dialogue of the beautiful dancer to work * with other dancers so that THEIR particular beauty, * whether it overlaps with own type of beauty or not, * is given maximal room and shine. One must, in this * process, be aware of the importance of avoiding the * concept of 'too easy' and 'too obvious' (which connects * to the original sense of 'kitsch' before some painters, * notably Nerdrum, sought to define it more positively) * and be willing to invite in both criticism and praise, * or--a better sequence!--both praise and criticism. By * both naturally emerge the challenge to learn, while * also an awareness of greatness of elements of what has * been achieved. And this also requires meeting those, * in real life, not merely through some kind of wierd * digital setup, or by means of a photo from art history, * those who have literally thousands of those kind of * professional hours behind them leading them to * incorporate a kind of "animal magnetism" in their * bodies, so that they exuberantly or quietly radiate * mastery in a field in their every moment. Such masters * may have limited time to spare for upcoming aspirants * and students in a field; and yet a mere hour once in * a rare while may be all it takes to transmit some * learning nonverbally across generations. * There are sometimes questions of economy which * should be addressed as well: the most excellent may * not be what is presently hyped up by the plurality, * and so one must be willing to say--rather go for * that which pleases the heart than that which fills * up the wallet. In the long run, there may be * great likelihoods, however, that the two can meet, * on regular occasions if not always. * The types of music called on both as background * for painting and for dance must cross the rhythms * drastically, not engage in militant repetitive * rhythms, but touch on the arrythmic, cfr the notion * of 'harmonious messy mix house dance' music {and * links are found at the completion of EcoNomy page * and some more at other places}. * While ballet as dance was fostered under strict * predefined sets of choreography connected to certain * forms of music,--such as modern dance seeks to go * beyond--modern dance can nevertheless bring further * many parts of the vocabulary of motion invoked by * the ballerina, to strive for such gravitationless * firm graceful lines that fits indeed with a sense * of a glimpse of the radiantly beautiful Muses in * Deep Space. As ballet-trained dancer and choreographer, * and knowing in Min Tanaka's butoh dance and other * forms of modern dance, M Emilie Herstad has pointed out, * the vocabulary of motion can however be extended * significantly beyond the original ballet register. * This includes, for instance, the conscious invocation * gravitation, rather than constantly fighting it. * Whatever forms of art we seek to unfold, the * fountainhead of the approach must be that we approve * of it from the depth of being, from that which in * such as Zen Koans and in Haiku poems is spoken of * as that nothingness which, paradoxically, 'knows all * because it is unknowing'. Such references to timeless * forms, poems, and elements of all cultures we can * bring in as points of instruction and inspiration, * without succumbing to any particular dogma about * worldview or religion. Further forms of inspiration * can come from work with the {truly} abstract forms * found in a good programming language {like my own, * G15 PMN}, and this can include explorations of * both golden ratios {8:5, or 89:55 or so} and the * similar contrasts in such as fractal geometry. * I think that those who are surrounding themselves * with various expressions of art, whether as * painting, dance or remixes of music, that have * nurtured themselves from such insights will find * that their energies and motivations gather them- * selves deeply to work with more deep rationality * on whatever is at hand.

The G15 Intraplates Multiversity is one of our many projects. Its present status is: planning. You are invited to contribute with ideas, resources, money. Pls consult the email at the completion of this page.

We aim at teaching the art of painting and dance, but also the art of hard science and hard tech. There are always other places that dedicate themselves to go even deeper into any of these areas, but we consider that there is something of the ultimate link in our approach between having just completed all fundamental and general education and before going further into a deepening in one direction as career development. The G15 Multiversity, also called Intraplates Multiversity, G15 Intraplates Multiversity, or G15 Education, is for young women of great talent -- an exclusive in-depth total immersion of about two seasons which can be a launching into the real world of those who have just come out of school, brimming over with a sense that the world, and the day, must be captured -- fast, and yet with the meditative sense of insight, patience, hard work, and a sense of enjoyment. Our faith is that girls should engage in the hard rock of science, become pro of technology that fit their aspirations -- and entirely without becoming, for that reason, associated with the 'nerd' concept. It is the feminism of the 21st century, coupled with a desire not only to excell at whatever personal glamorous career a young adult woman may want, including modelling, but also to cash in on knowledge about every subject from design and such as painting via such as dance all the way to a handy knowledge of how to construct new electronic controllers for robots. No, really: how to wire it up, and get used to the smell of melted tin and to the pleasant crackle of manually made robots. Now when dealing with technological subjects, for a million not very strong reasons, boys have a tendency to shoulder away most girls; and in a mixed higher education setting the genders are in constant interplay in a way that may distract from profound fast expertise development. There are also subtle, and -- for the 21st century and beyond -- important difference in the inclinations of the woman and the man, when it comes to what technology is being used for, and what norms and esthetical ideals it is being used with. It is a truth that such a grand education must be flexible, and not expect total results in all fields, -- but it must also be willing to take students straight into the core without assuming that it is going to take years and years. Young adults want to live -- NOW. They want a career -- VERY SOON. They need money and the G15 Multiversity has a realism that few really intelligent higher education places have got. This is about getting a qualification which is career oriented -- FAST. And there's plenty of unique technological, and artistic, career pathways which does not assume that the young adult woman has prior knowledge -- although it would help to have excellent skills in English, as well as good skills on using computer keyboards with touch-typing. G15 Intraplates Multiversity ///// /// Art, Dance, Hard tech, Soft tech, Programming education /// /// Avenuege G15 Personal Computer, with links to concept paper about Intraplates "Art = A.R.T. = A Re-perceptive Transcendence of whatever you think art is." -- Stein Reusch Weber, March 17th 2015
Educational components as presented here, beyond those copyright the respective sources as mentioned, are copyright (c) 2015 the The G15 Intraplates Multiversity. It, and, which is the main site of this educational enterprise in progress and in development at present, are maintained and owned by the private company Yoga4d von Reusch Gamemakers, Oslo. This is wholly owned by Henning S W Reusch Braaten. There are, as is known, other and more commercial activities as other {present or intended} subsidiaries of this company, but it is the intent to keep this educational activity relatively separate and open-minded and nurtured and supported in an idealistic spirit, so that, in the very long term, it amounts to a contribution to society and to elements of development connected to the consciousness surrounding art in general, in humanity. In such an attitude of generosity we also request sponsorship from all sorts of relevant sources. A general contact point connected to various questions for the Intraplates Multiversity, for sponsors, students, potential teachers and more, is this: SRW at Please only use this for personally signed emails, rather than for advertisement of any sort.
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