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	<title>Comments on: The paradox of non-distracting distractions</title>
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	<link>http://artandperception.com/2007/07/the-paradox-of-non-distracting-distractions.html</link>
	<description>a multi-disciplinary dialog</description>
	<pubDate>Fri, 09 Jan 2009 20:56:42 +0000</pubDate>
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		<title>By: Nat</title>
		<link>http://artandperception.com/2007/07/the-paradox-of-non-distracting-distractions.html#comment-30319</link>
		<dc:creator>Nat</dc:creator>
		<pubDate>Mon, 06 Aug 2007 06:52:48 +0000</pubDate>
		<guid isPermaLink="false">http://www.artandperception.com/2007/07/the-paradox-of-non-distracting-distractions.html#comment-30319</guid>
		<description>I think there are several types of thinking at work when you're working. The topic reminds me of the story of Michelangelo sitting before a block of stone for days on end and when asked what he was doing he said "I'm working." 

When the art in question involves physical activity, painting, drawing, some types of sculpture, you can think plan out ahead of time, in the same way someone in sports might envision a game, the pregame, warm-up etc. (Another half-remembered anecdote, two basketball players, one practices free-throws in his mind the other practices on the court and the one practicing in his mind improves more.) Point being, the actual act of painting is like a performance, for which you can prepare mentally before hand... so you can "think" less while you are performing. This pre-thinking involves everything from body motions to aesthetic decisions. 

Of course, there is also a broader aesthetic, philosophic/aesthetic decision making that can affect the type of end product you wish to make, hence the mental preparation for the "performance."

Also, depending on the art form there are variations on the freedom you allow yourself for accidents, improvisation while you are performing. In a Sol le Witt piece, for instance, the accidents would be left to the "fabricators". Many other artists might work in this way, with the design divorced from the execution.

As for what goes through my brain when I'm working, well, I find a lot of my decisions have been made before hand, and the more comfortable I am with what I've thought through ahead of time the more easily the work goes. Or I hit a snag and go "back to the drawing board"(drink a beer).</description>
		<content:encoded><![CDATA[<p>I think there are several types of thinking at work when you&#8217;re working. The topic reminds me of the story of Michelangelo sitting before a block of stone for days on end and when asked what he was doing he said &#8220;I&#8217;m working.&#8221; </p>
<p>When the art in question involves physical activity, painting, drawing, some types of sculpture, you can think plan out ahead of time, in the same way someone in sports might envision a game, the pregame, warm-up etc. (Another half-remembered anecdote, two basketball players, one practices free-throws in his mind the other practices on the court and the one practicing in his mind improves more.) Point being, the actual act of painting is like a performance, for which you can prepare mentally before hand&#8230; so you can &#8220;think&#8221; less while you are performing. This pre-thinking involves everything from body motions to aesthetic decisions. </p>
<p>Of course, there is also a broader aesthetic, philosophic/aesthetic decision making that can affect the type of end product you wish to make, hence the mental preparation for the &#8220;performance.&#8221;</p>
<p>Also, depending on the art form there are variations on the freedom you allow yourself for accidents, improvisation while you are performing. In a Sol le Witt piece, for instance, the accidents would be left to the &#8220;fabricators&#8221;. Many other artists might work in this way, with the design divorced from the execution.</p>
<p>As for what goes through my brain when I&#8217;m working, well, I find a lot of my decisions have been made before hand, and the more comfortable I am with what I&#8217;ve thought through ahead of time the more easily the work goes. Or I hit a snag and go &#8220;back to the drawing board&#8221;(drink a beer).</p>
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		<title>By: MJ Illingworth</title>
		<link>http://artandperception.com/2007/07/the-paradox-of-non-distracting-distractions.html#comment-29562</link>
		<dc:creator>MJ Illingworth</dc:creator>
		<pubDate>Thu, 02 Aug 2007 06:56:33 +0000</pubDate>
		<guid isPermaLink="false">http://www.artandperception.com/2007/07/the-paradox-of-non-distracting-distractions.html#comment-29562</guid>
		<description>Crikey, I'm glad I focus on painting. Thinking and distractions can keep things quite busy. Where's my easel?</description>
		<content:encoded><![CDATA[<p>Crikey, I&#8217;m glad I focus on painting. Thinking and distractions can keep things quite busy. Where&#8217;s my easel?</p>
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		<title>By: birgit</title>
		<link>http://artandperception.com/2007/07/the-paradox-of-non-distracting-distractions.html#comment-29466</link>
		<dc:creator>birgit</dc:creator>
		<pubDate>Wed, 01 Aug 2007 21:38:45 +0000</pubDate>
		<guid isPermaLink="false">http://www.artandperception.com/2007/07/the-paradox-of-non-distracting-distractions.html#comment-29466</guid>
		<description>I realize that I gave Corey Goodman too much credit for being knowledgeable in Asian philosophy. In his traveling to Nepal, I speculated that he had come across sema boundary stones inspiring him in 1992 to name the axonal chemorepellent 'semaphorin'.

Discussing neuroscience, in our spinal cord development, semaphorin (secreted by the anterior horn) repels  sensory axons encoding pain. This restricts pain afferents to our dorsal horn, preventing them from directly accessing ventral horn motor neurons. In invertebrates, semaphorin similarly &lt;em&gt; restricts access &lt;/em&gt;.  


The real credit for the term appears to go to Edsger Dijkstra: &lt;blockquote&gt; semaphore is a protected variable (or abstract data type) and constitutes the classic method for &lt;em&gt;restricting access &lt;/em&gt; to shared resources (e.g. storage) in a multiprogramming environment. It was invented by Edsger Dijkstra and first used in the THE operating system.&lt;/blockquote&gt;</description>
		<content:encoded><![CDATA[<p>I realize that I gave Corey Goodman too much credit for being knowledgeable in Asian philosophy. In his traveling to Nepal, I speculated that he had come across sema boundary stones inspiring him in 1992 to name the axonal chemorepellent &#8217;semaphorin&#8217;.</p>
<p>Discussing neuroscience, in our spinal cord development, semaphorin (secreted by the anterior horn) repels  sensory axons encoding pain. This restricts pain afferents to our dorsal horn, preventing them from directly accessing ventral horn motor neurons. In invertebrates, semaphorin similarly <em> restricts access </em>.  </p>
<p>The real credit for the term appears to go to Edsger Dijkstra:<br />
<blockquote> semaphore is a protected variable (or abstract data type) and constitutes the classic method for <em>restricting access </em> to shared resources (e.g. storage) in a multiprogramming environment. It was invented by Edsger Dijkstra and first used in the THE operating system.</p></blockquote>
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		<title>By: Jay Hoffman</title>
		<link>http://artandperception.com/2007/07/the-paradox-of-non-distracting-distractions.html#comment-29461</link>
		<dc:creator>Jay Hoffman</dc:creator>
		<pubDate>Wed, 01 Aug 2007 20:34:57 +0000</pubDate>
		<guid isPermaLink="false">http://www.artandperception.com/2007/07/the-paradox-of-non-distracting-distractions.html#comment-29461</guid>
		<description>Whomever:

The semaphorin entered this discussion in response to a link posted by Birgit on her blog. The link was in response to a brief discussion about the coast of Corsica.</description>
		<content:encoded><![CDATA[<p>Whomever:</p>
<p>The semaphorin entered this discussion in response to a link posted by Birgit on her blog. The link was in response to a brief discussion about the coast of Corsica.</p>
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		<title>By: Sunil Gangadharan</title>
		<link>http://artandperception.com/2007/07/the-paradox-of-non-distracting-distractions.html#comment-29460</link>
		<dc:creator>Sunil Gangadharan</dc:creator>
		<pubDate>Wed, 01 Aug 2007 20:29:12 +0000</pubDate>
		<guid isPermaLink="false">http://www.artandperception.com/2007/07/the-paradox-of-non-distracting-distractions.html#comment-29460</guid>
		<description>Jay,
looks like we agree that Carnatic and languid-'ness' go hand in hand...</description>
		<content:encoded><![CDATA[<p>Jay,<br />
looks like we agree that Carnatic and languid-&#8217;ness&#8217; go hand in hand&#8230;</p>
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		<title>By: Steve Durbin</title>
		<link>http://artandperception.com/2007/07/the-paradox-of-non-distracting-distractions.html#comment-29454</link>
		<dc:creator>Steve Durbin</dc:creator>
		<pubDate>Wed, 01 Aug 2007 19:45:27 +0000</pubDate>
		<guid isPermaLink="false">http://www.artandperception.com/2007/07/the-paradox-of-non-distracting-distractions.html#comment-29454</guid>
		<description>As long as this thread has gone off-track: I love the Thai boundary stones etymology, but I'd wager any reasonable amount the name semaphorin derives from semaphore, for their signaling role in axon development; sema is just derived as a shortened form, rather than being primary. Why it came into this conversation, I have no idea.</description>
		<content:encoded><![CDATA[<p>As long as this thread has gone off-track: I love the Thai boundary stones etymology, but I&#8217;d wager any reasonable amount the name semaphorin derives from semaphore, for their signaling role in axon development; sema is just derived as a shortened form, rather than being primary. Why it came into this conversation, I have no idea.</p>
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		<title>By: Jay Hoffman</title>
		<link>http://artandperception.com/2007/07/the-paradox-of-non-distracting-distractions.html#comment-29453</link>
		<dc:creator>Jay Hoffman</dc:creator>
		<pubDate>Wed, 01 Aug 2007 19:37:35 +0000</pubDate>
		<guid isPermaLink="false">http://www.artandperception.com/2007/07/the-paradox-of-non-distracting-distractions.html#comment-29453</guid>
		<description>Sunil:

I'm running up a phone bill here, but finally I must say that my chewing action is more languid when I dine to Carnatic at Bombay Gardens than at that Elvisy joint down by Akron.</description>
		<content:encoded><![CDATA[<p>Sunil:</p>
<p>I&#8217;m running up a phone bill here, but finally I must say that my chewing action is more languid when I dine to Carnatic at Bombay Gardens than at that Elvisy joint down by Akron.</p>
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