Outer imaging is here defined as using technics and linguistics to manifest an external version of an inner image experience

"Art does not render what is visible, art makes visible." (Paul Klee)

Layer 1

Readymaking Process (inner subjective content)

Try to imagine ways in which you can modify the outer image (or life event and/or life scene) that you were responding to. Because the readymade source image has already set forth a fully formed technic/linguistic version to work from, there is little or no need to wrestle with these aspects in an outer imaging process. Rather than manifesting an entirely new artwork, the process involves reworking the given source image (as a readymade) so that the revision can fully represent the new inner image response experience with it. Change all the aspects that need to be updated to better represent the response experience.

Layer 2

Gesturing Process (inner technics)

Try to imagine ways in which you can focus on the possible use of materials in manifesting an outer art image (or life event and/or life scene) that express at least some aspect of your previous inner image response experience. The revised version can take into account the possibility of first exploring the demands and freedoms inherent in any available technics (be they skills developed from the use of body muscles, extension tools, instruments, and/or electronic devices). This strategy enables the remaking process to be in touch with the technical options explored. (Note that although the use of technical structures will also invariably implicate linguistic structures as outlined in layer 6, these need not become the focus in this context where technics is on the front burner.)

Layer 3

Materializing Process (outer subjective content)

Try to to focus on the subjective memories of the previous inner image response experience and then try to find a way to use technics to manifest an outer art image (or life event and/or life scene) that expresses at least some aspect of it, using materials (as explored in layer 2, above, for example). The revised version can take into account the use of any technics available to represent the subjective memory of any aspect or sequence of events that occurred during the inner image response experience. (At this stage the focus is on the technical materialization of the scene(s) and not on the use of linguistic means that might be used to render it, even though the linguistic aspect will be present.)

Layer 4

Generalizing Process (outer schemata)

Try to imagine ways in which you can use design patterns to realize an outer art image (or life event and/or life scene) to represent the larger arrangements of the remembered events of the inner image response process. The revised version can take into account any imaginary pattern that is possible in image making (such as rhythmic forms, shifts in scale/size, and/or unifying structures) that can represent the subjective memory of the inner image response experience. (The focus is on the forms that override details, and not on the details; and on the intuitive use of technic/linguistic design patterns as sources of meaning.)

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Layer 5

Observing Process (inner objective content)

Try to study the details of the outer image (or life event and/or life scene) that you were responding to, and then focus on the details of the characters in the work (be they subjects, objects, technical aspects, and/or linguistic aspects) to inform your new outer image account of your inner imaging response experience. The revised version can emphasize the use of detailed marks left by technics (the marks left by body muscles, extension tools, instruments, and/or electronic devises); and/or the use of details remembered in the look of the subjects/objects (content that derives from sources such as the unconscious, conscience, conscious, and/or self-conscious) and/or the use of textural details left by the use of (visual) linguistic elements (be they tone, line, color, and/or shape).

Layer 6

Symbolizing Process (inner linguistics)

Try to imagine ways in which you can focus on the use of (visual) language in manifesting an outer art image (or life event and/or life scene) that expresses some form aspect of your previous inner image response experience. The revised version can take into account the possibility of first exploring the demands and freedoms inherent in any imaginable (visual) language elements (be they derived from the use of tone, line, color, and/or shape). This enables the remaking process to be in touch with the linguistic options explored. (Note that although the use of any linguistic structures also invariably implicates related technical structures as referred to in layer 2 above, these technical demands need not be the focus at this time, when the exploration of (visual) linguistics is on the front burner.)

Layer 7

Mediating Process (outer objective content)

Try to imagine ways in which you can focus on the possible use of visual language possibilities as the basis for manifesting an outer art image (or life event and/or life scene) that is designed specifically to represent at least some objective aspect(s that represent the previous inner image response experience. The revised version can take into account the possibility of first exploring the demands and/or freedoms inherent in any use of (visual) linguistics, referred to in and 6 above). Although technics will become part of the process, the use of linguistic options is the main focus used to represent the response experience.

Layer 8

Conceptualizing Process (outer revealed issues)

Try to imagine ways in which you can focus on the possible long term issues that surfaced during the response process and/or in any of the explorations that involved the process of remembering content (as outlined in layers 1, 3. 5, and 7 above), that involved the use of technics as referred to in layer 2 above), and/or that involved the use of (visual) linguistics (as referred to in layer 6 above). The revised version can take into account the use of any of the discoveries that surfaced in any of the processes referred to in the seven previous layers.