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About the Book Sincron.Nis'tee: Reaching <I Ching> - The Analo.gos E Ching: 64 orij'n'l imajes and po.emz offers new insights into the ancient Book of Change, still used today extensively in both Modern China and the West as a source of enlightened thought; it offers a new way to engage the many new interpretations of the I Ching that are being published every year; it offers 64 art works and 64 poems completed as a singular body of work, the individual pieces of which raise parallel issues to those expressed in the I Ching; it offers a developed rendering of the AnalogosParadigm, a construct detailed in The Subject of Art in Process: Undressing the Emperor's Nude Close, that enables the reader to behold layers of ideas simultaneously; it offers the first extensive text ever to behold layers of ideas simultaneously; it offers the first extensive text ever to be written in ufi, Uze'r Frendlee Inglish, a notation system that invites the reader to hear echoes of sound that reverberate back to the voice of a speaker who writes to them; it is offered as a prototype of the iiae response process. Sincron.Nis'tee: Reaching <I Ching> - The Analo.gos E Ching: 64 orij'n'l imajes and po.emz is the first full-fledged example of iiae, interActive interDisciplinary art education; education through art/art through education for the new millennium. The details of iiae are available in The Subject of Art in Process: Undressing the Emperor's Nude Close (ISBN 1-55212-327-8); ARTS Press @ Trafford Visit the author's website!

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About the Author Stanley Horner, formerly a Professor of Studio and Art Education at Concordia University, Montréal, grew up in the remote Upper Ottawa Valley, Canada; he currently resides with his wife in Victoria, BC, where he works with traditional and high-tech visual media, music and text; he has two children living in Montreal. Other books by Stanley Horner include: Orchestrating ArtEvents, The Subject of Art in Process. And Too Near by Far (available at iiae2@hotmail.com). Synchronicity, Analogos I Ching also launches UFI (Uze'r Frendlee Inglish), into the public domain. UFI is a new notation system that is capable of carrying aspects of the vocal sounds of a speaker-of-English along with the meanings already possible when writing Standard English Text. UFI introduces only two rules that are completely new: 1) a vowel with a dot after it is pronounced as a long vowel sound (a-e-i-o-u as spoken when saying the alphabet); 2) a slur or short-short vowel (written as an apostrophe, mostly inside a word) is pronounced like the 'oo' in the word 'good' (in Canada). All the other basic 'roolz' are 'natural' to readers and writers of English; these rules are included in the Appendix—written in UFI. The Analogos I Ching numbers are different from those standardized in other I Ching texts; this became necessary because the Analogos paradigm insists on an order that helps users to remember patterns and understand the relationships between the different sites of the I Ching. For ease of translation between the two versions, they are juxtaposed on the back cover and on page 19. A cursory look into the Analogos paradigm (concept map) is also offered; a more complete version, including many examples, can be found in: Horner, The Subject of Art in Process. Each site page, in Part iii, includes the title of the work, the verse, and both the Analogos I Ching number and the corresponding traditional I Ching number, along with examples of traditional titles and traditional interpretations. It is recommended that users consult at least one other I Ching text after consulting a site in Sinchro.Nis'tee / Synchroicity to extend the ideas; several resource I Ching texts are listed on page 171. The new version of Sinchro.Nis'tee/Synchronicity (2004) includes a new format and many more and much larger illustrations. (There are now 136 as compared to 64 previously). The use of the ufi text is now focused on the poems and is used less elsewhere throughout the book. The inclusion of information about the ORG (Open Response Gallery) project was not possible in the earlier edition as it was only incorporated as a Non-Profit Society in 2003. Accordingly, the iiae response process (briefly outlined on page187) can hopefully encourage the development of a community of voices. Readers are invited to submit work to the ArtBankORG and as such can become a part of the Open Response movement. Brief notes on the orientation of the ORG Project are on pages 168, 169, and information about the submission process is included on page 187. For information about the internet version of this Reaching I Ching series of artworks and poems, readers can gain access to the project through the Trafford or Horner web site: http://members.shaw.ca/iiae2 Sample of UFI text old time-old rock-stay let not a million millennia or a passing day touch your cool or change your was old mansion-un-befriended-unbeknownst lost in a lasting-long decay between the jaws of death gone by and birth to be let not a million millennia or a passing day touch your cool or change your way bedrock sinks our years of news- anchored solid yet to come-they too outwait- our lasting flow before their slumber's done

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Excerpts

The Focusing Process

While it is typical for a newcomer to a book to browse through the pages first, Reaching I Ching is designed to make it possible to focus on individual sites in depth. The following process is recommended:

1. Pose a question to focus on;
2. Find a way to focus on a specific site that can point to a possible answer to the question posed (see page 16 for the I Ching approach; other approaches include randomly opening the book, picking a number between 1 and 64, or any other means that by-passes a conscious, contrived search);
3. Spend time looking at the image, letting the mind drift into whatever worlds emerge (see below for a cursory outline of part of this process; a detailed elaboration and the theoretical basis for this Analogos approach are available in my The Subject of Art: Undressing the Emperor's Nude Close);
4. Spend time reading the verses, letting the mind drift into whatever worlds emerge (the verses connect the reader with the process that I, as artist, was struggling with during the image-making process);
5. Read the few quotations taken from a selection of I Ching Books (on the left page); try to search out an answer to the original question posed (sometimes it is necessary to rethink the question because the answer comes closer to the search 'intended' than the question was);
6. Search out other variations of the over-all meaning in other I Ching texts (a list is on page 170).

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Table of Contents

(Paradigm Version)

PART i: Backgrounds (pages 7-20)

1. Synchronicity: (pretext) control and chance (pages 7-9)
2. UFI: (context) speech and text (pages 10-16)
3. I Ching: (content) ancient wisdom and current wisdom (page 17)
4. Analogos: (de-context) concept maps and idea territories (pages18-19)

PART ii: Insights (pages 21-28)

1. Analogos orientation: (pretext) multi-dimensional ideas (pages 21-22)
2. Analogos interactions: (context) paradigms and syntagms (pages 23-24)
3. Analogos: time/space (content) diachronic and synchronic (pages 25-26)
4. Analogos dynamics X, Y, Z: (de-context) structure and substance (page 27)

PART iii: Interflux (pages 29-164)

1. First Quadrant: (pretext) land forms over land forms (pages 29-61)
2. Second Quadrant: (context) trans forms over land forms (pages 63-96)
3. Third Quadrant: (content) land forms over trans forms (pages 97-129)
4. Fourth Quadrant: (de-context) trans forms over trans forms (pages 131-163)

Part iiii: Trans Forms (pages 165-176)

1. Analogos I Ching Artwork Titles: (pretext) image and text (pages 165-167)
2. The ORG Project (context) response and activation (pages 168-169)
3. Traditional I Ching: (content) synchronic sources and resources of (pages 170-171)
4. The Analogos and Time: (de-context) synchronic patterns and practices (pages 172-176)

Index A: Analogos Images and poems (pages 177-179)

Index B: List of Illustrations: Analogos Images (page 180)

Index C: Analogos Poems (pages 181-164)

Index D: Chinese Titles and Pronunciations (page 185)

Postscript A: The One and the Other in Dialogue (page 186)

Postscript B: The ArtBankORG Submission Form (page 187)

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Synchronicity, Analogos I Ching presents a survey of aspects of a body of work that the author/artist produced between the years 1960 and 2000. These studio works were frequently re-worked and up-dated as new discoveries emerged-so that all the works are in the end more or less contemporary with the present, even when the first works were initiated decades earlier. Together they constitute a singular inter-related body of work. The series of verses were written as the works neared completion; they reflect the technic/linguistic issues that seemed to emerge in the process of working in the studio. The 64 individual works (or series) offer parallel but diverse insights into the 64 strategies elucidated in the I Ching and vice versa. Users are invited to 'read' the images before reading the verses and to do this before referring to other (traditional) I Ching books. This suggested sequence is designed to give readers an opportunity to discover their own meanings before referring to those offered either in this or related texts. The theoretical basis for this sequence is detailed in Part II of Horner, The Subject of Art in Process: Undressing the Emperor's Nude Close.

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Catalogue Information

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