Analogue Intelligence (gj)

To navigate the field of creativity, is to have assumptions, make choices, express feelings, and manifest thoughts in the vastness of endless possibilities. This situation makes the discussion of a “field guide” necessary. The core argument of one not being able to be both “logical” and “intuitive” in my Jan 2026 post (Field Guide), then, makes “field guide” possible. Another important feature of the logical thinking and intuitive thinking discussed in the field is that both are situational to the process. 

The word “Signal” will be used many times throughout this post. The reason I use “signal” instead of information, is because it aligns more with how a biological human body and mind works. For anyone who enjoys exploring the process of hand crafting, it makes full sense to discuss “the brain” in the hand, or in the hand-brain axis while we work. And “gut feeling” is obviously another cognitive / neurological phenomenon where the stomach-brain axis is at work.

Perception is a constructed filter that can be shifted one way or another with conscious awareness of signals our body is giving in all manners. These signals are part of a bigger picture of the “analogue” world of signals, as in contrast to digital. To me, this could possibly lead to some further discussions on how our “Analogue Intelligence” can stay parallel to “Artificial Intelligence” which is based on “the digital”, and not fear for losing the fundable feature of art and design.

Now if we start making a field guide, for anyone who is interested in exploring the stroll, stream or structure phase as I was describing it. 

In the stroll phase, just like strolling in a field in the wild, if we trace back our own thinking process, here are some typical modes of mental state.

1, Blindman

2, Bus Station

3, Periphery

4, Tracking

(and more…)

There is no need for consideration for the outcome, but the process is still driven by some type of signal, either from environment/field, or internal process of the artist (thinking process or alike). And like a game, the artist needs to chase the signal as it changes.

If the signal is from the environment, then the process depends on the perception and interpretation of the artist.

If the signal is derived from the feelings or thoughts of the artist, the process depends on an action plan as to when and how to respond to certain signals. 

Then ration comes in as the afterthought of the strolling process to describe, document and make sense of it. 

In the stream phase, just like a driver, or the captain who steers a ship. The process is for arriving at some sort of destination. The driving or navigational skills can well be derived from the stroll phase right before.

What matters in this phase is a fully justified destination of creative work, whether that being a vision, a solution or a goal for the work. 

When the destination is an objective criterion, it is documented and marked when achieved.

When the destination requires a sense of judgement, it is based on the artist’s fundamental understanding of terms, definitions and gauge.

When the destination takes the participation of other people, the target participants’ understanding of terms and definitions becomes essential.

In the structure phase, the use of micro strategy for stroll and stream phases were used in a combined and specific sequence to address the problem.