Accurate Records

Accuracy is very important to the committee.

Precision prevents division.

Clear definitions support reasonable decisions.

Mathematics is one of the most important political, artistic and scientific tools.

Most politicians, journalists and members of the public are frightened of mathematical figures.  They do not understand them.  They prefer to accept, without question, the interpretations of accountants, official treasury officials and/or experts on numbers games.

How do you use mathematics in your political activism and in your textile-related artistry and in your suitably scientific domesticity?

How do you express political, artistic and scientific significance?

What is your acquaintance with flame stitch?

Perhaps you prefer to express your anger through cross stitches though that is often an unsophisticated way to address the world's problems.

How do you tell the difference between an accurate record and propaganda?

How do you know when the choices offered to you are indicative of ignorance and/or injustice?

How do you tell the difference between arbitrary decisions and well-informed assessments? 

How do you tell the difference between a leader of reasonable people, an inciter of mobbing, a charlatan and a dictator? 

What is your acquaintance with the enlightened being of political kindness?  

And what is your usual approach to investing in suitable moderation, and where do you prefer to do so?

It is always important to assess perceptions accurately. 

All records are based on the perceptions of record keepers.

What sort of record keeper are you?

How do you usually assess climate records?

How do you usually assess other types of records?

There are many types of records, of course, whether they are mathematical, or textual or visual or audio ones., or otherwise.

Many collections are records of one sort or another.

What do you know about collecting samples and examples for one purpose or another?

What do you know about seed collecting?

What do you know about the collection of status-related job titles?

You currently have access to an illustrated collection of information presented on behalf of the Revolutionary Climatological Needlepoint Committee.

You also currently have access to information linked to this information.

What is your acquaintance with the words Podestà and bargello?

What is your acquaintance with money changers and their depiction in art?

What do you know about mathematics in relation to money and the arts?

What do you know about mathematics in relation to politics and the sciences?

How have you attempted to identify and express important mathematical equations regarding money and politics?

You may be aware that the arts can most accurately be defined in terms of the intentions of artists.

But how is it possible to know the true intentions of anyone, in relation to any activity? 

All art is intentional, even though many artists are apparently unaware of their own intentions.

Most artists only have one intention, namely to make money from the artistic practices they enjoy.

Yet self-identified artists often fail to acknowledge that there is no market for their self-expressed enjoyment.  They may as well regard their expressive sources of enjoyment as simply a hobby.

It is self-indulgent to expect to be paid for activities many people enjoy as hobbyists.

People are paid either to teach skills or to demonstrate mastery of the skills other people appreciate or to supervise less skilled workers, or to express a combination of those qualities.

People with the skills to teach do not necessarily have other skills.

Similarly, people with highly developed skills in one area of mastery may be absolutely useless as teachers or supervisors.

Many people in supervisory positions have no useful skills whatsoever.  They behave like dictators.  And no dictator is suitably skilled as a supervisor or teacher.

Maintaining accurate records is also a useful skill, particularly when people in later decades and centuries may depend upon that accuracy for the expression of their own skills.

How do you distinguish between knowledge and skills?

What do you gain from records in terms of knowledge?

What do you gain from records in terms of skills?

All works of art are records.

How do you compare the textile arts and the fibre arts with climatological needlepoint? 

What have you discovered about human behaviour through examining records relating to the history of clothing and textiles?

What is your acquaintance with textile geometry?

What do you know about clothing in the ancient world, and how do you know it?

What do you compare one interpretation of the Judgement of Paris with other interpretations?

Comparing interpretations accurately is a highly skilled activity.

What is your preferred approach to investing in structure, and for what purposes?

How do you prefer to structure your point of view on a particular point of contention, and why?

How do you know when a valid contention does not really exist?

How do you attempt to examine a work of art in its historical context?

How do you attempt to compare wearable art with the use of the nude in art?

How do you compare the intentions of one artist with another?

What is your acquaintance with argument maps?

What is your acquaintance of the relationship between mathematics and art?

What is your acquaintance with the history of the global temperature record?

What is your most important environmental premise, and from your whose point of view?

What is your most important political premise, and from whose point of view?

What is your acquaintance with logical consequences and illogical consequences?

How do you know when an axiom is inaccurate?

What is your acquaintance with beliefs concerning relationships between mathematics and music?

How clearly do you distinguish between beliefs and knowledge?

How do you define science?

The Revolutionary Climatological Needlepoint Committee regards science is the art of distinguishing, as clearly as possible, between knowledge and beliefs.  

Genuine scientists treat knowledge as sacred.  

Charlatan scientists treat money and prestige as sacred.

Like other genuine artists of considerable talent, genuine scientists observe the world very carefully indeed.  They do so whilst also upholding universally-applicable values and clearly defined principles.

How carefully do you observe yourself, and how do you know? 

How carefully have you recorded your observations of yourself and the world at various times of your life?

Who do you currently regard as a captain of the people, and why?

Who are "the people" in any definition of the term?

How do you compare autocrats with aristocrats, technocrats, bureaucrats, plutocrats and democrats?

How do you compare Leopold II and the other Habsburgs with Cosimo de' Medici and the other Medici and Louis XIV and the other Bourbons?

What do you know about the Bargello in Florence?

While you may not necessarily associate the mathematics of fibre arts with medieval public buildings, much useful information can be attained through the discovery of deeper meanings.

You may regard some facts as quite amusing or quite distressing.

How do you feel when becoming aware that historical 'palaces of the people' have, until recent times, been used mainly to imprison protesting persons and to oppress those remaining outside its walls?

The Bargello became Italy's first national museum in 1865.

There are many different ways to compare art.

There are various ways to compare data, depending upon the purpose of the comparison.

There are various ways to compare artists.

How do you compare one great artist with another?

How do you measure greatness qualitatively and quantitatively in various contexts?

How does your knowledge of history inform your comparisons?

How does your knowledge of science and mathematics inform your comparisons?

How does your knowledge of ethics, aesthetics, economics and politics inform your comparisons?

How does your knowledge of mythology inform your understanding of psychology and politics?

How does your knowledge of psychology inform your interpretations of mythology and contemporary political situations?

What do you know about the politics of men's work and women's work?

How is your craftivism informed by art history, the history of art, historical records and scientific data?

How do you know when a seemingly aesthetic purpose is really a political purpose?

How do you compare history painting with future painting?

Perhaps you prefer to focus on the future in a mythological way rather than in a scientific way.

If you regard yourself as a skilled worker, are you also a free thinker and a person with an accurate reputation for acting in good faith in every situation?

Perhaps you have charted the future scientifically using bargello needlepoint, for reasons of durability, sustainability and credibility.

Yet even the most durable works of art have been ruined in floods, fires, civil disturbances and wars.

What is your preferred approach to data visualisation, with or without the assistance of better artists than yourself?

How have your graphic depictions of the future been interpreted by political decision-makers?

How have political decision-makers responded to your devotion to precision?

How do you distinguish between mixed messages and clear messages?

How do you know whether a clear message is adequately accurate or deliberately deceptive?

How do you interpret ideas directly or indirectly associated with Pythagoras of Samos?

What is your understanding of graph theory, including Dürer graphs?

While scientific futurology should never be confused with the pseudoscience of divination, any reasonable person will assess whether potentially important evidence is consistently based on accurate records rather than mistakes and speculations.

How do you compare futurology with various expressions of purported futurism?

How do you compare embroideries and tapestries?

How do you compare the original bargello embroidery with later ones, possibly including your own?

How do you compare embroidery styles?

How do you compare tapestries, paintings, sculptures, architectural styles, and governments?

How do you interpret images?

How do you know when points of view are reflective of egotistical arrogance rather than a truthful soul?

Perhaps you are seeking privileges through your potential association with the Revolutionary Climatological Needlepoint Committee.

If so, how do you know you are deserving of those privileges?

How accurate are your records relating to past privileges?

How have you been recording present privileges and possible future privileges?

How do you usually assess potential?

How do you know you are a competent futurist?

What is your preferred approach to horizon scanning?

How observant are you?

How well-informed and kind are you, particularly in relation to your duties as one of the patrons of enlightenment supporting the committee and its work?

How do you document your knowledge, kindness and patronages?

Perhaps you are widely regarded as a Cassandra.

Perhaps you have always had remarkably accurate foresight.

What is your acquaintance with stock exchanges, futures exchanges, futures contracts and the bond market?

You may have noticed that the committee is also a learned society.  

Ignoramuses are not eligible for membership.  Nor are persons with a reputation for being disrespectful towards the Muses, the Moirai, reasonable scientific methodologies and relevant artistic techniques.

If you want to join the members of the committee, what are you able to offer in return, and why do you wish to do so?

What, for example, have you been doing to reduce dangerous levels of atmospheric methane and how can you prove you have been doing so without damaging ecosystems or otherwise being cruel?

What have you been doing to reduce dangerous levels of atmospheric carbon dioxide and how can you prove you have been doing so without damaging ecosystems or otherwise being cruel?

How do you respond to claims that destruction and cruelty are necessary by-products of economic growth?

How do you compare one image with another and assess their provenance? 

How do you compare one society with another and assess their providence?

What do you know about the ancient Roman concept of Providentia?

How do you compare one history painter with another?

How do you know when someone is stuck in the past?

How do you distinguish between, and compare, the density of air and the destiny of humanity? 

How do you reflect upon depressive realism through psychology and through art?

What is your acquaintance with persistent organic pollutants?

How do you attempt to become knowledgeable about nature and hubris?

What do you know about carbon sinks?

What do you know about the positive and negative effects of industrialisation on survivability?

What do you know about the positive and negative effects of deindustrialisation on survivability?

Perhaps you imagine the entire world as though it is a casino and/or industrial plant rather than a living, breathing planet.

Perhaps you do not understand the science of sustaining life on Earth. 

Perhaps you do not understand the urgency of responding wisely to accurate records.