Stefan Arteni

communication
exemplified by calligraphy works

Various versions of (dragon), Compilation of Cursive Characters, authored by Shi Liang of the Qing Dynasty, scan by K.C.Tang http://upload.wikimedia.org/wikipedia/commons/4/48/Cursiv e_characters_dragon.jpg

SolInvictus Press 2013

Communication
Luhmann describes communication explicitly as the unity of information, utterance [message, Mitteilung], and expectation of understanding. More specifically, communication arises through a synthesis of three different selections, namely, selection of information, selection of utterance of this information, and a selective understanding or misunderstanding of this utterance and its information. A helpful bridge is Luhmann's understanding of information: once information is expressed it is no longer information per se; it has exhausted itself. Though, this "automatic mechanism does not exclude the possibility of repetition." Repetition itself is a form of meta-information that can be interpreted as information indicating the value and validity of the repeated (now) non-information. Recipients repeatedly view certain programs. In terms of system theory, Niklas Luhmann describes familiarity as a genuinely human means for reducing systemic complexity: "Familiarity ... enables relative secure anticipations and thus absorbs remaining risks ..." James Carey argues that the ritual view focuses on the communication of this meta-information of commonality, instead of novelty. A lot of communication will typically take place on the level of meta-communication, i.e. communication about communication. In meta-communication one communicates not only about a particular content but also about the effect that a communication has, in other words about what difference the particular communication makes, and about how it communicates. Stefan Arteni, Writing Systems, Art, Communication III http://www.scribd.com/doc/34988821/StefanArteni-WritingSystems-Art-Communication-3

A flower opens into five petals (Hamamura) Seido Giyu 1869-1935 Rinzai http://web.kyoto-inet.or.jp/org/jikyuan/9380.html

A flower opens into five petals. (Miyazaki) Sengai Ekiho 1901-2008 Soto http://web.kyotoinet.or.jp/org/jikyuan/9392.html

The contribution of ethology: primacy of utterance (form) Advertisement and persuasion are phenomena that game theoreticians have had problems explainingAdvertisement works because of the design of our brains. There are empirical psychological data showing that humans like other animals are sensitive to the form of signals and not just to the information they conveySome of the qualities found in ritualized biological signals, such as large size, frequent repetition, symmetry, elaborate ornamentation and mimicry, also appear in human advertisement Spectacular cultural phenomena can evolve that convey little meaningful information, but still have strong impact on spectators Magnus Enquist, Anthony Arak, Stefano Ghirlanda, and Carl-Adam Wachtmeister, Spectacular phenomena and limits to rationality in genetic and cultural evolution, Philosophical transactions of the Royal Society of London. Series B, Biological sciences 357(1427):1585-94, 2002 Nov 29, http://rstb.royalsocietypublishing.org/content/357/1427/1585.long in Stefan Arteni, Writing Systems, Art, Communication III http://www.scribd.com/doc/34988821/StefanArteni-WritingSystems-Art-Communication-3

The contribution of evolutionary game(s) theory graphical signs that evolve within a community offer distinct advantages when compared with those that locally develop In particular, the meaning associated with a particular sign is more accessible for a subsequent generation of sign learnersBut what about the global evolution unique to the community signs? In a group context, signs need to be effective both in terms of communicative fitness within each pair of the group and in terms of transmission fitness for other group members. Our results indicate that communities achieve this by developing increasingly simple signs, but nevertheless signs that retain sufficient residual iconicity to be easily recognizedand learnedby new members of the population from which the community was drawn. So, in both community and isolated pair conditions, graphical signs evolve functionally, becoming progressively refined and therefore more efficiently produced and decoded by interlocutors. However, only community evolved signs exhibit learning and decoding benefits for persons not actively engaged in sign construction. As these benefits are unanticipated (i.e. the signs are not designed with an external audience in mind), sign fitness is a functional by-product of adaptation in the community condition. Nicolas Fay, Simon Garrod and Leo Roberts, The fitness and functionality of culturally evolved communication systems, http://rstb.royalsocietypublishing.org/content/363/1509/3553.full.pdf in Stefan Arteni, Writing Systems, Art, Communication III http://www.scribd.com/doc/34988821/StefanArteni-WritingSystems-Art-Communication-3

The contribution of evolutionary game(s) theory: conventions and complexity

Graphical interaction games suggest the emergence of graphical conventions or conventional graphical schemata within a community (culture immanent interactional context.) Conventions are not arbitrary, they are the result of coordination that took place over space and time, culminating in a refined form that promotes rapid communication with reduced effort. This is an evolutionary effort where the whole is greater than the sum of its parts complexity emerges.

Graphical productions that evolve within the simulated community provide a substantial processing advantage when compared with designed or locally developed representations. Thus, conventional graphical representations constitute higher order cognitions, the whole being greater than the sum of its parts... Like the present day Chinese character for mountaincommunity representations retain a degree of iconicity, i.e. once told what a drawing represents it can be seen as such. Again, like the Chinese character, community drawings exhibit a degree of schematization that makes them easily differentiable Nicolas Fay, Simon Garrod, Tracy McLeod,, John Lee and Jon Oberlander, Design, Adaptation and Convention: The Emergence of Higher Order Graphical Representations http://www.cogsci.northwestern.edu/cogsci2004/papers/paper513.pdf

Mountain. The blue mountain is the father of white clouds Inzan Ien 1754-1817 Rinzai http://web.kyoto-inet.or.jp/org/jikyu-an/9494.html

Behavioural Implicit Communication (BIC) Skills demonstration in learning, exams, and tests When Y is teaching something to X via example or explanation and observes Xs behavior or product to see whether X has learned or not, then Xs performance is not only aimed at producing a given practical result but is (also or mainly) aimed at showing the acquired abilities to Y (or to other observers). This is true for any exam and test: the behavior or product under examination is a BIC. Notice that in teaching by example and showing (based on imitation) also the behavior of the teacher is a BIC; its message is: look, this is how you should do. More in general, if showing and exhibiting are intentional acts they are always communication acts. Showing for imitation is just one use of showing. Thus we have several possible BIC messages in imitation based transmission: The models message - just vehicled by his showing: observe! And do as I do, in such and such a way. The imitators message - just vehicled by her doing: look, Im doing like you; is this correct? The models confirmation - just vehicled by the act of looking and saying nothing: yes, it is OK.It is well known that this kind of teaching is essential for several forms of procedural implicit knowledge that cannot be fully expressed in words and cannot be learned by reading; like techniques, art craft abilities, sport, dance, and so on. You have to observe and repeat, observe and repeat. Cristiano Castelfranchi http://www.academia.edu/1521699/IMITATION_and_BIC-final

Stigmergy Stigmergy is just a sub-case of BIC, since in fact any BIC is based on the perception of an action that necessarily means the perception of some trace of that action in the environment (for example air vibrations). We restrict stigmergy to a special form of BIC where the addressee does not perceive the behavior (during its performance) but perceives other post-hoc traces and outcomes of it. To be true, perceiving behavior is always perceiving traces and environmental modifications due to it; the distinction is just a matter of perception time and of duration of the trace. The only difference is that when we refer to communicating via traces we have in mind more long term traces that persist also when the author is no longer there: the receiver observes the trace while he could not observe the author performing the action. Cristiano Castelfranchi http://www.academia.edu/559230/SILENT_AGENTS_From_Observation_to_Tacit_Com munication

Torei Enji 17211792 http://ww w.bachma nneckens tein.com/ exhibition s/2013/As ia_Week_ New_York /images/2 242%20( 2).JPG

(Hioki) Ishitsu Mokusen1837-1920 Soto http://web.kyoto-inet.or.jp/org/jikyu-an/9546.html

Yamamoto Gempo 1866-1961 Rinzai http://www.shoga.jp/en/item/2011/03/11168.html

Yamamoto Gempo 1866-1961 Rinzai http://www.nagaragawagarou.com/sakuhin/genpoue145.html

Yamamoto Gempo 1866-1961 Rinzai http://www.nagaragawagarou.com/sakuhin/genpoue157.html

Hisamatsu Shinichi http://2.bp.blogspot.c om/KJH_WgMGhCY/Tv2 mAqZUCjI/AAAAAA AAAVY/dvZduQWtgv k/s1600/HisamatsuS hinIchi%2B_mu.jpg

Yamada Mumon 1900-1988 Rinzai http://brucekennedyphotos. zenfolio.com/img/s2/v4/p17 9529330-3.jpg

Yamada Mumon 1900-1988 Rinzai www.thekura.com/items/911374/item911374store.html

Kajiura Itsugai 1896 1981 Rinzai http://brucekennedyphotos. zenfolio.com/img/s3/v8/p10 27575400-3.jpg

Hashimoto Dokuzan http://www.nagaragawagarou. com/ga/dokuzan-mu2.jpg

Komei Sonen 1913-1995 http://www.nagaragawagarou.com/sakuhin/koumei-e147.html

Ryukyo http://www.zengalerie.d e/html/mu-ryukyo.html

http://www.asianart.com/BachmannEckenstein/large/01.jpg Shimizu Kosho http://www.asianart.com/BachmannEckenstein/large/17412.jpg

Shimizu Kosho http://asianart.com/Bachmann Eckenstein/d13097.html

Hashimoto Kansetsu http://www.nagaragawagarou.com/sakuhin/kansetsua613.html

Zenko Kusanagi 1906 1996 Shingon http://www.zengalerie.de/html/mu_z enko.html

Mu Maki Haku woodblock print 1973

Taigo Watanabe https://www.facebook.com/ photo.php?fbid=230490440 416615&set=a.106503222 815338.8348.1000036698 19945&type=1&theater

Mu(bu)ga no self Issen http://www.zengalerie.de/html/mu ga.html

Kourin Oohashi 1901 1982 Rinzai http://www2u.biglobe.ne.jp/~taniguti/D-082b.htm http://athosweblog.files.wordpress.com/2010/09/d45caafc6a.jpg

Ueshima Wafu 1904-1979 http://cameronjcampbell.na me/Tier2/Japanese_calligr aphy/Ueshima_Wafu/Wafu _Ueshima_Mushin.jpg

Taitsu Kono http://brucekennedyphotos.zenfolio.com/img/s11/v3/p219714601-3.jpg

Yamada Mumon 1900-1988 Rinzai http://www.nagaragawagarou.com/sakuhin/mumon-e146.html

Shoraku http://www.zengalerie.de/html/bujishoraku.html

(Furukawa) Taiko Sotaku 1871-1968 Rinzai http://www.shogaya.com/indexe.ht ml

Anonymous http://ancientpoint.c om/imgs/a/b/e/n/e/a ntique_japanese_ka kejiku_hanging_scro ll_kanji_calligraphy_ chinese_texts_n471 _1_lgw.jpg

(Furukawa) Taiko Sotaku 1871-1968 Rinzai http://www.shogaya.com/html/furu kawa-taiko370.htm

(Furukawa) Taiko Sotaku 1871-1968 Rinzai http://web.kyotoinet.or.jp/org/jikyuan/9514.html

Ueda Gizan 1891-1972 Rinzai http://www.zengalerie.de/html/yume_ueda.html

Fujii Seido 1898-1894 Rinzai http://www.zengalerie.de/html/yume_fujii.html

Yamamoto Gempo 1866-1961 (bowl) and Nakagawa Soen (box) http://www.robynbuntin.com/ItemDetail.aspx?ProductID=15702 #.UZWTDaI3vfc

Dream (Yume) Sounin Kajitani 1914 1995 Rinzai http://www.shogaya.com/inde xe.html

Zenkei Shibayama 1894-1974 Rinzai http://www.shogaya.com/indexe.ht ml

Dairaku Kasetsu http://hiroshimaart.net/wpcontent/gallery/syo/d airaku-k/11.jpg

Yamada Mumon 1900-1988 Rinzai http://brucekennedyphotos. zenfolio.com/img/s3/v39/p9 00298413-3.jpg

Ashikaga Shizan http://www.shambhala.com/media/catalog/product/cache/1/image/700x1000/9df78eab33525d08d6e5fb8d27136e95/2/1/2140.jpg

Inoue Yuichi http://image.artfact.com/hou sePhotos/malletauctionjapa n/71/293471/H3876L18823489.jpg

http://www.spoontamago.com/wpcontent/uploads/2013/09/yuichi_nr_66088_700.jpg

Inoue Yuichi

http://www.artnet.com/artwork/42 6276471/117109/inoue-yuichi-yuichi-yume--dream.html

Kamitsukasa Kaiun 1906-1975 http://www.asianart.com/BachmannEckenste in/d11775.html

Yoshimi Keiseki http://www.hotarugama.com/assets_c/2010/11/10-3027-thumb-640x480-792.jpg

Every day is a good day Yamada Mumon 1900-1988 Rinzai http://aucoeurduzen.blogspot.com/ 2011_04_01_archive.html

Goto Zuigan 1879-1965 Rinzai http://brucek ennedyphoto s.zenfolio.co m/img/s1/v2 1/p10444269 66-3.jpg

Katsudo Hosoai 1919 - 1985 Rinzai http://zengalerie.de/html/hibi_kor e_kojitsu.html

(Kondo) Korin Junso 1909-1953 Rinzai http://web.kyoto-inet.or.jp/org/jikyu-an/9155.html

Itsugai Kajiura 1896-1981 Rinzai http://www.shogaya.com/indexe.ht ml

Kamijo Shinzan

Shosho Hashimoto b 1939 Rinzai http://www.shogaya.com/indexe. html

Today is a good day (Shibayama) Bunmin Zenkei 1894-1974 Rinzai http://web.kyotoinet.or.jp/org/jikyuan/9506.html

Hakuin Ekaku http://www.noma.org/press/ ZenHakuin/kotobuki.jpg

Hakuin Ekaku http://lacma.files.wordpre ss.com/2011/05/kotobuki.j pg

Miwata Beizan 1821-1908 http://www.nagaragawaga rou.com/sakuhin/beizanh017.html

Longevity Yamada Mumon 1900-1988 Rinzai http://web.kyotoinet.or.jp/org/jikyu-an/8762.html

Longevity Yamada Mumon 1900-1988 Rinzai www.thekura.com/items/886604/item88660 4store.html

Ci Xi http://english.cguardian.c om/categories/cpc/201209-03/12119.html

Longevity (Furukawa) Taiko Sotaku 1871-1968 Rinzai http://www.jikyuan.com/9282.html

Shukado Ikusen 20th century http://jyuluckdo.com/sp701301.gif

Longevity (Asamaki) Jozan Zekkei1832-1918 Soto http://web.kyotoinet.or.jp/org/jikyuan/9463.html

Hashimoto Kansetsu 1883-1945 http://www.nagaragawagarou.com/sakuhin/kansetsu-a598.html

Sincerity (Furukawa) Taiko Sotaku 1871-1968 Rinzai

Dairaku Kasetsu http://wp1.fuchu.jp/~sei-dou/rekisi-siryou/04316dairaku-kasetsu-makoto/04316dairakukasetsu-makoto.htm

Taigo Watanabe https://www.facebook.com/photo.php?fbid=310115582454100&set=a.106503222815338.8348.100003669819945 &type=1&theater

Taigo Watanabe https://www.facebook.com/photo.php?fbid=374694042662920&set=pcb.3746941259962 45&type=1&theater

Yamaoka Tesshu http://underthemoonshad ow.blogspot.com/2010_0 6_01_archive.html

A fierce tiger roars in the moonlight (Hioki) Ishitsu Mokusen 1837-1920 Soto http://web.kyotoinet.or.jp/org/jikyu-an/8908.html

Wang Fang Yu http://scallender.info /wpcontent/uploads/20 12/02/Dancing-InkWang-FangYu_tiger.jpg

Wang Fang Yu http://elizabethwanggallery.com/ES W/Images/Wang_FangyuTiger3.jpg

17th century http://dragondarumamuseum. blogspot.com/2008_01_01_ar chive.html

Anonymous 18th century http://www.asianart.com/Bach mannEckenstein/d9531.html

Dragon Anonymous 18th century www.himikoorientalgall ery.com/Paintings.htm

Unsho Domon 1792-1858 Soto http://www.shogaya.com/indexe. html

Ishii Hirokichi 1874-1942 http://www.asianart.com/Bachman nEckenstein/d9536.html

Kado Dojin (dates unknown) http://www.orandajin.com/daSite/f ullsize.asp?img=http://orandajin.lit tlechicken.nl/2591_kado.jpg

Dragon Tendo (dates unknown) http://www.orandajin.com/daSite/f ullsize.asp?img=http://orandajin.lit tlechicken.nl/3049_tendo.jpg

Kasumi Bunsho http://www.orandajin .com/daSite/fullsize. asp?img=http://oran dajin.littlechicken.nl/ 2358_bunsho.jpg

Kasumi Bunsho http://zenpaintings.com/images/k -bunsho-dragon-call.jpg

Dragon Kasumi Bunsho http://zenpaintings.com/images/bu nsho-dragon.jpg

Morita Shiryu http://p2.laimg.com/197/18729/6345 532_1_l.jpg

Dragon knows dragon Morita Shiryu http://picasaweb.google.com/lh/photo/ztcVx6Gyo03HPHfCOKRNN5BLYEbdVTvOH7sC 33XD_ok

Suzuki Hoitsu b 1939 Soto http://www.zenguide.de/zen/malerei/id/ 571&titel=%2B%234084 5%3B%2B%2312288% 3B%2B%2321535%3B %2B%2338642%3B%2 B%2336215%3B%2B% 2334382%3B%2B%232 2063%3B%2B%233908 0%3B%2B%2329983% 3B+Ry%FBgin+zurebak u+mo+okori

Tea ceremony scroll http://galleryplus.ebayimg.com/w s/web/350769314748_1_0_1.jpg

Wang Fang Yu http://www.elizabethwanggallery.com/Quickstart/I mageLib/W-Dragon3.jpg

Dragon Bokuoh Seki 1903-1991 Rinzai http://www.shog aya.com/indexe. html

Tanaka Setsuzan http://www.biennale.o r.kr/2007/korean/int/i nt_400_2view.asp?n um=67&page=3

Cave of the Blue Dragon Uozumi Keizan http://www.britishmuseum.org/r esearch/collection_online/colle ction_object_details.aspx?obje ctId=790612&partId=1

Hasegawa Kanshu 20th century Sangenin temple Daitokugi Kyoto http://www.chanoyu.com/fa1.jpg

Waterfall Myoshun Sagawa 1891-1988 Kegon http://www.shogaya.com/in dexe.html

Waterfall Hashimoto Josho 20th century Rinzai http://jyuluck-do.com/sp702643kanji-buddhistic-priest.jpg

Waterfall Oi Saidan b 1915 Rinzai http://www.sarugallery.com/default.p hp?L=6a&NR=114

Waterfall (Oota) Maigan Josho 1876-1946 Rinzai http://web.kyoto-inet.or.jp/org/jikyuan/9443.html

Hosoai Katsudo http://www.teaceremonyutensils.com/product/146

Clean the mind Takahashi Etsudo Rinzai http://www.zengalerie.de/html/senshin.html

Deiryu (Izawa) Kanju Sojun 1895-1954 Rinzai http://www.dharma.net/m onstore/images/products /calli-sa-wash.jpg

 Taigo Watanabe http://www.taigo.jp/page/kokusyo/sensin.htm