InscribeCup

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InscribeCup


Ever since I had stumbled upon the popularized Jungian psychological typing parameters, I had felt they could be the key to lots of understanding. By 1984, both a high and later a low point in my life, I had created a diagram for creative writing, which I had xeroxed and taped on one of the free re-usable coffee cups given out back then by several fast-food establishments. The idea was to sip coffee and look at the diagram while relaxing a bit, and let it be a reminder of a way to cycle through each of the arenas of thought, as stimulated by the Jungian concepts. Later I labeled this the "Inscribe Cognitive Engine" and its best stimulated product was its first one, a technological poem about the inner workings of a disk drive, "Magnetic Footprints": PoetryTech Since the first product was better than subsequent ones, I think it is likely that there was something about the making of the diagram, fresh in my mind when "Magnetic Footprints" was written by using the diagram's flow, is needed to make it work best. Maybe it is the color of its background, orange in the original. Maybe it is the easy sip of coffee from the bearer of the inscription, the cup itself. Making little experiments like the label on the cup made life a bit more interesting to me, a bit of creativity allowed in the formal engineering world in which I lived then.


To use the diagram (reproduced below this paragraph), start at Step 1, located at the bottom of the diagram. Then complete the described steps, following the arrows, and notice the opportunities to choose between paths each time through the diagram, following your feelings as to which of the two choices at each fork in the path; continue doing that until you have an inspiration of something to write. Also, a more detailed written, non-graphical, description of the steps can be found at the bottom of this page.


inscribe-orig.gif

Above is a re-constructed drawing of the graphic, since the copies I had made of the original have not been located yet.


inscribecupseft.jpginscribecupmiddle.jpginscribecupright.jpg

The above three photos are of the cup itself, the orange paper xerox print being taped onto a re-usable Carl Jrs covered coffee cup given away back in those days.


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Here is a way to do the process without the cup from which to sip fresh coffee while contemplating the process shown on the warm steamy cup in one's hand. Lacking the cup, using a text editor, open a new page in which to write, and write the various descriptions as called for in the following "Inscribe" process.


1. Briefly describe the relationship between this, YOUR current position and other viewpoints.

Example: I sit in front of my computer's screen, ready to type something that, hopefully,  results.


2. Then pick an attractive portion of the physical part of the experience (sensate observations and/or activity); thrill to its beauty, then describe your inspiration through iteration of the remaining steps.

Example: I pick another kind of cup, one that had been given me as a volunteer years ago at the NHMLAC's MBPC. Here is what the cup looks like at this point:

IMG_9433.jpgIMG_9434.jpg


So now I begin the process of describing my unfolding inspiration:


Describe, first, in terms of the emotional energy aroused, the CONNECTEDNESS of the THINGS & EVENTS.... while noticing the content of physical space; specific distinctions of the world.

Example: My boss, Regina, handed me this cup years ago, thanking me for my helpfulness on several of her projects, this one commemorating the "Marine Biodiversity Processing Center" where I had first worked in this part of the museum's Research & Collections area. I recall images from that room where I had worked such as these: http://www.escalatorhi.com/techscifi/corksetoh.html  The Natural History Museum was one of my favorite places in Los Angeles, and now I had worked there for years, including in a whole new field for me, the world of Marine Biodiversity as existing in the museum's Marine Biodiversity Processing Center, deep under the old part of the 1910 museum's ornate structure. 

corksetoh.20030327-21a.jpg

I remember my first task, that lasted for many months, helping convert the many 5-gallon pails of hastily preserved specimens obtained in the Puget Sound area circa 1976 and donated to the museum, into better preserved and documented labeled vials, including removing the old corks, since cork sometimes has micro-organisms that despite the alcohol will sometimes damage specimens stored long term. This process is called "curation":

corksetoh.20021108-19.01-19.jpg corksetoh.20030327-5a.jpg


Describe, second, in terms of the results: locating , or evaluating THE PARTS and/or THE LOGICAL SEQUENCES ... while noticing the structures of space, of the environs and within oneself; territory, hierarchies:

Example: The cold ceramic cup is empty in my hands now; it has a round opening at the top, white colored, made for sipping coffee while urged to remember the NHM MBPC.


3. Next, overlay some part of the physical scene with an imaginary change (either by dreamily contemplating with an open heart and mind, or by choiceful envisioning), and express your admiration for the new relationship formed between the physical and imaginary components of the scene.

Example: This cup had a chip in its lip, so it could not safely be kept in the large collection of coffee cups kept up in the 3rd floor lab area where Regina normally worked (and I too, later) yet am sure i tasted Regina's wonderful coffee from her elaborate coffeemaker, that she served to volunteers and to those attending meetings held in that area ... that coffee was a real treat compared to my own coffee. 


Then describe, in terms of the emotional energy aroused, the CONNECTEDNESS of the THINGS & EVENTS.... while noticing the intermingling, the merging, the flowing as part of the whole creation:

Example:  The Marine Biodiversity Processing Center's "wet-room" where i had worked years before replacing corks and inserting labels on ... thousands? ... of specimen vials, was reached from her lab/office by going down the hall, taking elevator down the the basement floor, walking through the long concrete tunnels to the little room down under one of the wings of the old 1910 museum structure, made of old brick and concrete that was a bit uneasy in earthquake country, where a fume hood pulled the fishy-alcohol vapors out of the room while one worked there.  Here is where the lowest level, tedious but very necessary tasks went on day after day, months and years. Several people and other groups also used this "wet-room"; even I, when on another's project to process deep-sea floor foraminifera samples so as to determine population densities at various locations on the bottom of the ocean, including in the abyss off the Monterey coast, were also done in this room, sometimes requiring use of the fume hood and blue nitrile gloves when working with specimens stored in formalin, working for Elena:

corksetoh.IM008287.jpg seafloorforams.IM009941.jpg

Then describe in terms of the results: locating , or evaluating THE PARTS and/or THE LOGICAL SEQUENCES ... while noticing the symbolic content, the inner essences, the meaning within:

Example: Here in the wet-room of the MBPC, I and others used the equipment and materials, such as vials, jars, and EthOH ethyl alcohol and water solution, either 70% or 95% alcohol, and sometimes microscopes and digital cameras for examples, and the jumbled specimens were processed, according to their state as existed at the moment, to separate them out according to species and location where gathered and when it was gathered there, preparing them as labeled long-term storage preserved specimens for storage in the adjacent cooled specimen racks, where they would remain until needed for research and/or public display purposes.


This completes the first pass through the Inscribe process, the Inscribe Cognitive Engine, I sometimes called it. One would the continue on to step 2 again. 


The Inscribe graphic is a kind of flow chart with an option for which path of a fork to follow when going from the right-brain's connectedness processing, into the left brain's logical sequences fork between the physical structures of space or the imaginative symbolic content. There are two other forks in the pathways, one at the inout to the right brain when coming from either the physical or imaginative action arenas,, and the other when exiting the left brain's rational processing and then has a choice of heading for the physical or else the imaginative arena from there.


The results are a bit different when focussing on the events of the past (like in the above example), as compared to focussing on possible events of the future.


Separating out the resulting text from the above example, the process itself will be separated out nest, including emphasis on the fork choices in the pathways. 


Here is the text from the above example: 


"I sit in front of my computer's screen, ready to type something that, hopefully,  results. I pick another kind of cup, one that had been given me as a volunteer years ago at the NHMLAC's MBPC. My boss, Regina, handed me this cup years ago, thanking me for my helpfulness on several of her projects, this one commemorating the "Marine Biodiversity Processing Center" where I had first worked in this part of the museum's Research & Collections area. I recall images from that room where I had worked such as these: http://www.escalatorhi.com/techscifi/corksetoh.html  The Natural History Museum was one of my favorite places in Los Angeles, and now I had worked there for years, including in a whole new field for me, the world of Marine Biodiversity as existing in the museum's Marine Biodiversity Processing Center, deep under the old part of the 1910 museum's ornate structure. I remember my first task, that lasted for many months, helping convert the many 5-gallon pails of hastily preserved specimens obtained in the Puget Sound area circa 1976 and donated to the museum, into better preserved and documented labeled vials, including removing the old corks, since cork sometimes has micro-organisms that despite the alcohol will sometimes damage specimens stored long term. This process is called "curation": The cold ceramic cup is empty in my hands now; it has a round opening at the top, white colored, made for sipping coffee while urged to remember the NHM MBPC. This cup had a chip in its lip, so it could not safely be kept in the large collection of coffee cups kept up in the 3rd floor lab area where Regina normally worked (and I too, later) yet am sure i tasted Regina's wonderful coffee from her elaborate coffeemaker, that she served to volunteers and to those attending meetings held in that area ... that coffee was a real treat compared to my own coffee. The Marine Biodiversity Processing Center's "wet-room" where i had worked years before replacing corks and inserting labels on ... thousands? ... of specimen vials, was reached from her lab/office by going down the hall, taking elevator down the the basement floor, walking through the long concrete tunnels to the little room down under one of the wings of the old 1910 museum structure, made of old brick and concrete that was a bit uneasy in earthquake country, where a fume hood pulled the fishy-alcohol vapors out of the room while one worked there.  Here is where the lowest level, tedious but very necessary tasks went on day after day, months and years. Several people and other groups also used this "wet-room"; even I, when on another's project to process deep-sea floor foraminifera samples so as to determine population densities at various locations on the bottom of the ocean, including in the abyss off the Monterey coast, were also done in this room, sometimes requiring use of the fume hood and blue nitrile gloves when working with specimens stored in formalin, working for Elena. Here in the wet-room of the MBPC, I and others used the equipment and materials, such as vials, jars, and EthOH ethyl alcohol and water solution, either 70% or 95% alcohol, and sometimes microscopes and digital cameras for examples, and the jumbled specimens were processed, according to their state as existed at the moment, to separate them out according to species and location where gathered and when it was gathered there, preparing them as labeled long-term storage preserved specimens for storage in the adjacent cooled specimen racks, where they would remain until needed for research and/or public display purposes. ..."


And here is the process, separated out from the above, showing spontaneous decision forks:


1. Briefly describe the relationship between this, YOUR current position and other viewpoints.


2. Then pick an attractive portion of the physical part of the experience (sensate observations and/or activity); thrill to its beauty, then describe your inspiration through iteration of the remaining steps.


So now I begin the process of describing my unfolding inspiration:


Describe, first, in terms of the emotional energy aroused, the CONNECTEDNESS of the THINGS & EVENTS.... while noticing the content of physical space; specific distinctions of the world.


Describe, second, in terms of the results: locating , or evaluating THE PARTS and/or THE LOGICAL SEQUENCES ... while noticing the structures of space, of the environs and within oneself; territory, hierarchies.


3. Next, overlay some part of the physical scene with an imaginary change (either by dreamily contemplating with an open heart and mind, or by choiceful envisioning), and express your admiration for the new relationship formed between the physical and imaginary components of the scene.


Then describe, in terms of the emotional energy aroused, the CONNECTEDNESS of the THINGS & EVENTS.... while noticing the intermingling, the merging, the flowing as part of the whole creation.


Then describe in terms of the results: locating , or evaluating THE PARTS and/or THE LOGICAL SEQUENCES ... while noticing the symbolic content, the inner essences, the meaning within.


This completes the first pass through the Inscribe process, the Inscribe Cognitive Engine, I sometimes called it. It has traversed each of the mental functions as I interpreted them from what I have read, identified originally by the incredibly inspired Austrian psychologist Carl Jung. One would the continue on to step 2 again. from now on, however, there are more choice forks in the path:


2. Then pick an attractive portion of the physical part of the experience (sensate observations and/or activity); thrill to its beauty, then describe your inspiration through iteration of the remaining steps.


So now I begin the process of describing my unfolding inspiration:


Describe, first, in terms of the emotional energy aroused, the CONNECTEDNESS of the THINGS & EVENTS.... Fork a = while noticing the content of physical space; specific distinctions of the world; fork b =  while noticing the intermingling, the merging, the flowing as part of the whole creation.


Describe, second, in terms of the results: locating , or evaluating THE PARTS and/or THE LOGICAL SEQUENCES ... Fork c = while noticing the structures of space, of the environs and within oneself; territory, hierarchies; fork d = while noticing the symbolic content, the inner essences, the meaning within.


3. Next, overlay some part of the physical scene with an imaginary change (either by dreamily contemplating with an open heart and mind, or by choiceful envisioning), and express your admiration for the new relationship formed between the physical and imaginary components of the scene.


Go back again through the decision and description path: 


Describe, first, in terms of the emotional energy aroused, the CONNECTEDNESS of the THINGS & EVENTS.... Fork a = while noticing the content of physical space; specific distinctions of the world; fork b =  while noticing the intermingling, the merging, the flowing as part of the whole creation.


Describe, second, in terms of the results: locating , or evaluating THE PARTS and/or THE LOGICAL SEQUENCES ... Fork c = while noticing the structures of space, of the environs and within oneself; territory, hierarchies; fork d = while noticing the symbolic content, the inner essences, the meaning within.


Iterate the process until it feels done. Enjoy the result.


Copyright © 2008 James E. D. Cline. Permission granted to reproduce providing inclusion of a link back to this site and acknowledgment of the author and concept designer James E. D. Cline.