We know from Destonian research that babies and children are taught to separate themselves from the sound expression that they are. They do so by inserting between the sound expression and themselves, words linked to pictures which then become word-picture combinations. As the child comes of age, these words-picture combinations are then captured and saved in the child’s memory bank from which it starts to define itSelf by calling up these repeatedly, and bringing them into circulation within his or her own mind and thus in all minds – as all is one. As we also know, these word-picture combinations are charged with feelings and emotions.

Thoughts come onto the scene, so to speak, once the developing human is becoming aware of experiences and wants to understand these experiences through interpretation. Thoughts, as we know, use words and therefore thoughts encompass the previously described word-picture combination. Thus, we have the trinity of thought-word-picture. I am giving you the bottomline here, the nutshell version, as I am writing to use these Destonian basics to launch a discussion of an artwork. If you find that you need more details in understanding what is said here, follow the links at the end of the article. To reiterate, the bottomline is that we use thoughts and, nested within that, word-picture combinations, to create and manifest this world.

Let’s leave Destonian research for a moment and look at how the mind-consciousness system (MCS) takes these word-picture dynamics and explains them to itself. One view of the production of the word-picture program within the educational system is called conceptual combination. Here the linkage of word-pictures is understood to underpin sense-making or a coherence-building activity in communication, which may range from mundane to highly creative usage. Adjective-and-noun, or noun-and-noun juxtapositions (generally, the definition is that two concepts or ideas are combined) can be as mundane as “green car”, or specifically conceived as, for example, Darwin’s “natural selection”. What is important here, from the perspective of the MCS, is that there are new entries into the system that must be driven by coherence. In other words, Darwin’s “natural selection” term would have been meaningless in the sixteenth century but acquired meaning because of the agreed consensus of his pre-programmed theory, and therefore leaps of coherence where made by the system itself to bring the term into mental circulation.

Conceptual combination as a path of the MCS to investigate itself spans over many disciplines including linguistics and creativity research. In the latter I am talking about those who work in the field of psychometrics or experimental psychology. The Encyclopedia of Creativity, published by these scholars, defines conceptual combination from the standpoint that the creation of ideas involves a person’s experiences, or expertise working with problems in a given domain. Creativity research assumes that knowledge is not static and that to create new knowledge an active manipulation of existing categories and concepts is performed by the person. Here, extant knowledge structures, a term that describes the categorisation of mental processes, are combined to produce new knowledge which allows persons to identify new emergent features, properties, and principles.

In artistic creativity, conceptual combination may be applied within any art form, and the results can be stunning in how the system reveals itself to us –  for anyone who is willing to see it, of course. In particular I am going to discuss one artist who uses objects of the world and works in a genre that has been labelled nouveau realism. To me this is a revealing art form where the system is able to stare us in the face. In this artwork that I am about to describe to you, what we are faced with is so grounded in the system itself, it shows us blatantly the polarisation we exist within and how we perpetuate abuse of all living things –  just by the artist’s use of artefacts that can be found in most cultures.

The artwork in question is by Portuguese artist Joana Vasconcelos. Last year in a survey exhibition called “I will survive” in London, she exhibited one artwork which I found especially appealing from my Destonian perspective. In the images below you see that she has appropriated a rendition of tall porcelain dogs and a conveyor mechanism. The content of her conceptual combination contains those two items and, of course, the concepts they represent. Both of those object categories, the porcelain dogs as collectible figurines that people put in their homes, and the metal conveyor system from which objects are hung during mass production, circulate in the world in large numbers. These objects exist because we have created them as a reflection of our thinking.

To be more specific, what we have created is a picture of animals using porcelain as material to demonstrate our idea of life. As was said in the beginning, we have separated ourselves from life, all life, which comes here to the forefront through a ‘materialised manifested picture’ that is fragile, static, and vulnerable. This ‘materialised manifested picture’ validates the entire spectrum of how humans approach animals and life in general, namely through abuse. Within this abuse we may express positive sentiment, but this positive sentiment exists within our unequal definition of animals as living beings.

The second concept that we can unravel here is that we live in societies that are focussed on consumer consumption. We make artefacts and we sell them for consumption. Our lives are based on this activity and we have created all kinds of ways in how we can make more artefacts and tickle them into existence by promoting every greater needs. With the aim to stimulate economic growth we consistently and continuously race to become ever more efficient, ever faster in our mass production, to churn out ever greater numbers of the same stuff.  The conveyor mechanism used in Joana’s artwork stands symbolically for the ‘man over nature’ attitude we live by, but also for all conveyor belts and assembly lines rolling, at this moment, all over the world –  flooding the markets with a myriad of objects that satisfy our perceived needs. We are so caught up in this that we offer this stuff to each other with widely ranging price tags for every status of wealth and poverty – merely look into a pound store, or dollar store, or penny store, or whatever they are called in your country. Just to be clear though, I am only talking about half of the world population, as the other half is starving to death and would not have the money nor the strength to go shopping.

As per Joana’s title “I will survive”, I can see the irony that is inherent in this artwork. As these two materialised manifested pictures are brought into action, they reveal their recursive course of non-survival. To ‘run the machine’ each audience member is called to step onto the pedal of the conveyor system, and become the participant that we all are when we contribute to the world by way of our existence. When engaging the motor the porcelain dogs swing along the conveyor’s path. You see in the image what happens all by itself.  With each turn the conveyor mechanism makes the porcelain dogs swing a bit faster until the dogs hit each other, and then porcelain pieces fall onto the ground. In the end all dogs are destroyed and there is no reason for the machine to continue running. You take your foot off the pedal and stop, and even that is symbolic because you are the only one who can stop what is happening in the world by taking responsibility, stand up and change it. The destruction of the porcelain dogs represents the destruction of life,  the big energetic machine that we run with our minds, here depicted in form of a conveyor system to which we are slaves, literally, both as workers and as consumers – the fallacy we go for, the mind-consciousness system.

Take the foot off the pedal and join us in creating a new world where these kind of artworks cannot exist anymore because the objects that are necessary for creation no longer have a function, they have ceased to exist – and we have begun to live. All of us – equal and one.

For ‘pedal-less driving’ join to become a Destonian by standing up in two ways:

The DesteniIProcess, where you find out who you really are

and through promoting an equal money system to make the two half – those who eat and those who don’t – one big, whole living humanity.

For more information, click here: http://equalmoney.org/

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Destonian references on YouTube:

Pictures as reality consciousness?

Matrix 7 on Secret of Thought Creativity

Words, Carriers of Encoding, Symbolism,Mathematical Equations — HoM50

2 – Sound Mind – Thoughts and Words are One