I am here
,
and there is nothing to say
.
Those who wish to get
somewhere
,
let them leave at
any moment
.
What we require
is
silence
;
but what silence requires
is
that I go on talking
.

PARADIGM
noun
1 technical a typical example or pattern of something; a model : "there is a new paradigm for public art in this country. See note at model".
• a worldview underlying the theories and methodology of a particular scientific subject: "the discovery of universal gravitation became the paradigm of successful science".

"Believe nothing, no matter where you read it, or who said it, unless it agrees with your own reason and your own common sense."

ALICE: Would you tell me, please, which way I ought to go from here?
THE CAT: That depends a good deal on where you want to get to
ALICE: I don't much care where.
THE CAT: Then it doesn't much matter which way you go.
ALICE: …so long as I get somewhere.
THE CAT: Oh, you're sure to do that, if only you walk long enough.

   aaaaaaaaaaaaaa
 aaaaaaaaaaaaaaaaaa
aaaaa          aaaaaa
               aaaaaa
               aaaaaa
  aaaaaaaaaaaaaaaaaaa
aaaaa          aaaaaa
aaaaa          aaaaaa
aaaaa          aaaaaa
 aaaaa       aaaaaaaa
    aaaaaaaaa aaaaaaaa

"All mankind is divided into three classes: those that are immovable, those that are movable, and those that move." --- ARABIAN PROVERB

•UTOE•
∞
≈U≈
≈T≈
≈O≈
≈E≈
∞
•UTOE•

The Unified Theory Of Everything is a publishing entity. ¶UTOE aims to develop an invaluable series of unique titles and projects that emanate educational, conceptual, theoretical, and physical merit. ¶Each edition represents both an intended vision and a broader need, and are made to enjoy as such. ¶Output will be interpretations of formats in existence or a diverse and changing medium be it books, films, monographs, objects, recordings, or any form suitable for the expression and sharing of ideas. ¶UTOE is an ever-mutating belief system which proposes a bricolage and heuristic way for creativity. The Theory aims to establish a flexible belief system which constantly forms and directs ones creative way of thinking and working. ¶It establishes a evolutionary process of dot-connecting influences which, through time and combination of vocational practice, provide a pathway through which you can define yourself creatively, and develop and finesse your own way of working, first conceptually, then practically. ¶UTOE aims to instil and encourage a combinatorial approach to creative thinking informing a problem solving intellect where ideas generated are not restricted by discipline, field, subject, area, skills or speciality, but rather lead the creative to an underpinning thought and insightful creative solution which determines and leads the practical process thereafter. ¶The Theory, by its nature, is process and thought-focussed, and proposes that upon the generation of a solution through creative thinking, the form this solution should take will present itself. ¶This consequently will strengthen the integrity of the idea, underpin everything during practice (analysis, development, design, application, production, craft and manufacture), and inform it's relevant iteration or communication thereafter. ¶The hope and intended reaction is to instil and encourage—and to not be ashamed of—an informed, combinatorial approach to problem solving, cross-disciplinary, peer pedagogic and heuristic learning, and to establish the hierarchy and importance of an idea (or concept) in all creative work.

"I have never been forced to accept compromises, but I have willingly accepted constraints."
EAMES

"The EARLY BIRD gets the worm, but the SECOND MOUSE gets the cheese."
HAMMOND

*

"Does man's grasp exceed his reach?

*

Does man's reach exceed his grasp?

This is not a brothel. There are no prostitutes at this address.

If I don't do something
•
who will?
•
If I don't care
•
who will?

"He was so giftedly bad that he backed unwittingly into genius."
WILLIAM TOPAZ MCGONAGALL DESCRIBED BY ONE OF HIS CONTEMPORARIES.

"You will learn most things by looking,"

HE WOULD SAY

"but reading gives understanding. Reading will make you free."

RAND.

THIS
IS THE WAY
WE SHOULD HAVE GONE.

MONEY >>>>> is a means >>>>> and not an end >>>>> It's not what you can have >>>>> but what you can do.

In order to succeed sometimes you have to divorce yourself from the things that other people want for you. You have to risk popularity, you have to risk credibility, you have to risk everything in order to do something that is true to your heart and true to what it is that you want to do.

YoU cAn'T lIvE tO tAkE pIcTuReS, yOu HaVe To TaKe PiCtUrEs BeCaUsE iT FiLlS YoU wItH lIfE.
CARTIER-BRESSON

•UTOE•
∞
≡T≡
≡I≡
≡T≡
≡L≡
≡E≡
≡S≡
∞
•UTOE•

THIS SECTION OF THE SITE IS STILL UNDER CONSTRUCTION AND EXPANSION. ITS EXISTENCE IN THE ETHER WILL ARRIVE SHORTLY.

Putting your faith in a new generation of creators and art lovers, we call upon all youth to unite. And being youth, the bearers of the future, we want to wrest from the comfortably established older generation freedom to live and move. Anyone who directly and honestly reproduces that force which implies him to create belongs to us. DIE BRÜCKE MANIFESTO 1906.

***

THERE
       ISN'T
           AN AREA
              OF WORK IN WHICH         SOMEONE
            HASN'T 
          ALREADY 
        DONE
      ANY
    WORK
 ALREADY.
THE REASON IS:
   (A) THERE'S NOTHING
       TO BE DONE
      (B) OR IT'S EXTREMELY
          DIFFICULT TO BE 
          DONE OR
          (C) THE WORK HAS
              ALREADY BEEN
              DONE BUT YOU
              MISSED IT THE
              FIRST TIME OF 
              LOOKING.

BeLiEf CaUsEs PrObLeMs, It ReDuCeS yOuR fLeXiBiLiTy, BuT iT's A sPiRiTuAl SkElEtOn—DiFfIcUlT tO mOvE wItHoUt OnE.

UUUUUU           UUUUUU
UUUUUU           UUUUUU
UUUUUU           UUUUUU
UUUUUU           UUUUUU
UUUUUU           UUUUUU
UUUUUU           UUUUUU
UUUUUU           UUUUUU
UUUUUU           UUUUUU
UUUUUU           UUUUUU
UUUUUU           UUUUUU
UUUUUU           UUUUUU
UUUUUU           UUUUUU
UUUUUUU         UUUUUUU
UUUUUUUU       UUUUUUUU
  UUUUUUUUUUUUUUUUUUU
   UUUUUUUUUUUUUUUUU
      UUUUUUUUUUU

The concept of genius 		
	can be seen to be about being original,
inventive and creating something that someone has not created before: 			a new way of doing, or thinking, about things.
Darwin would be seen by many as a genius, and he was a very original thinker 			(so original it got him on the back of a tenner).			 But that said, his grandfather,
 			Erasmus Darwin,					 had ideas about fossils that informed his work, and he wasn't the only one to come up with the idea of natural selection.
This is not
to detract from Darwin,
		but to point out that total and complete originality is not really possible, 			as no one would know what the hell you were going on about.
        								People have to have a certain level of understanding of what you are talking about for them to understand it,
 			you know.

In crystal
.
.
.
.
.
fragility is not seen as a weakness
.
.
.
.
.
but something to care for
.
.
.
.
.

One way of looking at Distributed Creative Cognition is to see it as a process by which many people together produce a creative output that no one could do by themselves. Everyone is orientated towards creativity in this century. We all want highly creative new work.Collaboration, always brings people together, and so always brings something new. Working with someone, together, is like having a dance—you and your partner respond to each other, and after a time, you get to know how each other moves and reacts so that you can push yourselves as a collective.

SHOW ME SOMETHING
		 NEW;
I'LL BEGIN 
	ALL OVER AGAIN.

                Everyone is interested in Education.	It's one of those universal interests, a through-thread of humanity—like Religion and Money—and it takes us into the future that we can't quite grasp.	All children have talent, but we squander this.	Creativity is as important as literacy or as numeracy.	Kids will take a chance, they are not afraid to get it wrong. Adults will not take the chance, they care about it being wrong. 	But to be creative is not just about being wrong—it's about being prepared to be wrong. 	It's taking the risk.

-----------------------
RESULT >
-----------------------

•UTOE•
∞
«C»
«O»
«M»
«I»
«N»
«G»
«»
«S»
«O»
«O»
«N»
∞
•UTOE•

FATE IS NOT WITHOUT A SENSE OF IRONY>>> This section will be available soon>>>

-----------------------
• THE CONSEQUENCES •
-----------------------

	In your working process you should have no boundaries and then you have no fear. 

	Although some can feel uncomfortable about this, good things can come out of incomprehension and incompetence. 
	
	It can take you places the linear, logical thought cannot. 

	The act of not knowing and finding something out that is new, or to find a new way and a new understanding.

•••
Work is more interesting
°
°
°
when it doesn't look designed,
°
°
°
as if it happened by itself.
°
°
°
This kind of work has a mysterious truth to it,
°
°
°
an invisible honesty
°
°
°
that is serendipitous
°
°
°
and only a fool wouldn't design this way.
•••

TTTTTTTTTTTTTTTTTTTTTTT
TTTTTTTTTTTTTTTTTTTTTTT
TTTTTTTTTTTTTTTTTTTTTTT
        TTTTTTT
        TTTTTTT
        TTTTTTT
        TTTTTTT
        TTTTTTT
        TTTTTTT
        TTTTTTT
        TTTTTTT
        TTTTTTT
        TTTTTTT
        TTTTTTT
        TTTTTTT
        TTTTTTT
        TTTTTTT

Throughout art and cultural history people have always desired an attachment between the 'work' and the 'hand'.
	There is a questionable link between a work being authorial and actioning to create work using ones very hand. A letter for example should objectively mean no less if hand-written or typed as the content—the words said—have exactly the same meaning and sincerity, it it only the execution that differs. As soon as the differentiation between the analogue and the automated—in this case the hand and the machine—is reared the sense of worth is altered calling into question the authorship and the origination. This is no more fundamental or prevalent than in Art, which due to it's nature has tussled with creation and realisation since it very beginning.
	The now common notion of artist as imaginer not maker is thought to be a new thing, yet the greats such as Da Vinci and Rembrandt ran studios in a very, very similar way. What made their paintings theirs were that they came from that studio rather than the very hand of the artist. 
	So how can you even begin to draw a line in a matter that has been debated over the years? Does it matter who 'makes' and who 'creates'?
	Does the writer that dictates as he cannot type create the writing? Does the artist whom directs the artwork to the finest level of detail create that work? Who creates the buildings, the builders or the architects? There's a constant struggle between creation and execution, between inspiration and processing

THE — CREATIVE — ACT — IS — NOT — PERFORMED — BY — THE — ARTIST — ALONE; — THE — SPECTATOR — BRINGS — THE — WORK — IN — CONTACT — WITH — THE — EXTERNAL — WORLD — BY — DECIPHERING — AND — INTERPRETING — ITS — INNER — QUALIFICATIONS — AND — THUS — ADDS — HIS — CONTRIBUTION.

THOSE
AWARDS
YOU
HAVE
DO
NOTHING
BUT
BADGE
YOUR
MEDIOCRITY
LABEL
YOUR
ADEQUACY
AND
MISLEAD
YOUR
DRIVE

-----------------------
OF EVERYTHING >
-----------------------

That we are each unique is our commonality. Customisation breeds conventionality as you have to operate within a defined boundary. As free as a bird chained to the sky. Wanting everything tailored to you means that you operate in a modular way and many are not aware nor grasp their personal sense of individuality. You merely want a version of another.

¶

"...go into the arts. ¶I'm not kidding. ¶The arts are not a way to make a living. ¶They are a very human way of making life more bearable. ¶Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven's sake. ¶Sing in the shower. ¶Dance to the radio. ¶Tell stories. ¶Write a poem to a friend, even a lousy poem. ¶Do it as well as you possibly can. ¶You will get an enormous reward. ¶You will have created something."

¶

/////
MYTHS are often
unsatisfactory, even
tormenting. THEY puzzle
and haunt the mind that
encounters THEM. THEY
shape different parts
of the world inside our
heads, and THEY shape them
not as pleasures, but
as encounters with the
inapprehensible.
/////

– – –
WELCOME
TO THE DEPARTMENT OF
TODAY AND EVERYDAY.
– – –

•UTOE•
∞
~S~
~U~
~B~
~S~
~C~
~R~
~I~
~B~
~E~
∞
•UTOE•

If you'd like to stay up to date with the physical and ethereal perambulations, email:

impart
@
utoepublishing.com

-----------------------
• OF •
-----------------------

ALWAYS

TELL

THE

TRUTH

&

DELIVER

ON

TIME

         OOOO
     OOOOOOOOOOOO
  OOOOOOOOOOOOOOOOOO
OOOOOOO        OOOOOOO
OOOOOO          OOOOOO
OOOOOO          OOOOOO
OOOOOO          OOOOOO
OOOOOO          OOOOOO
OOOOOO          OOOOOO
OOOOOO          OOOOOO
OOOOOO          OOOOOO
OOOOOO          OOOOOO
OOOOOO          OOOOOO
OOOOOOO        OOOOOOO
  OOOOOOOOOOOOOOOOO
     OOOOOOOOOOO
         OOO

J O Y there-is-a-utoe

&

R E V O L U T I O N there-is-a-utoe

— — — there-is-a-utoe

t h e there-is-a-utoe

e x p e r t there-is-a-utoe

i s there-is-a-utoe

t h e there-is-a-utoe

m a n there-is-a-utoe

w h o there-is-a-utoe

s t a y s there-is-a-utoe

p u t there-is-a-utoe

— — — there-is-a-utoe

•UTOE•
∞
+C+
+O+
+N+
+T+
+A+
+C+
+T+
∞
•UTOE•

IN PHYSICS if they CAN'T FIND the answer TO WHAT they are LOOKING FOR they change THE QUESTION.

  if you're PREPARED TO do that, OR CHANGE your way OF LOOKING at the QUESTION, THERE'S nothing you CAN'T DO.

EEEEEEEEEEEEEEEEEEEEEEEE
EEEEEEEEEEEEEEEEEEEEEEEE
EEEEEEEEEEEEEEEEEEEEEEEE
EEEEEEEEEEEEEEEEEEEEEEEE
EEEEEEEE
EEEEEEEE
EEEEEEEE
EEEEEEEEEEEEEEEEEEEE
EEEEEEEEEEEEEEEEEEEE
EEEEEEEEEEEEEEEEEEEE
EEEEEEEEEEEEEEEEEEEE
EEEEEEEE
EEEEEEEE
EEEEEEEE
EEEEEEEEEEEEEEEEEEEEEEEE
EEEEEEEEEEEEEEEEEEEEEEEE
EEEEEEEEEEEEEEEEEEEEEEEE
EEEEEEEEEEEEEEEEEEEEEEEE