180626 Publishing PDF on SendOwl 

We are living in the digital age of the feuilleton described in the back story of Hermann Hesse’s book, The Glass Bead Game. I got stuck in college, like a dinosaur in a tar pit. I’m unable to get out of the habits I learned in college – teaching, doing research, practicing and producing and doing service to communities-of-practice. Like those creatures trapped 38,000 years ago, I am trapped in habits of thought I learned in college.

The habits of teaching, research, practice and service I learned from my teachers led to experiments (research) with video as a teaching instrument and an art instrument. The significance for an arts professional and his or her students would be clear from the 1930’s on, when several scientific discoveries and engineering developments converged, changing the course of human history and pointing to either the specie’s further development or the specie’s destruction both of itself and multitudes of other living species.

Earth’s sustainability of human life, then, became my focus. The present age which resembles Hesse’s view of feuilleton, and mine, too, only updated. He responded with literature. I respond with digital works designed for the Web.

Feuilleton in Wikipedia: In the novel The Glass Bead Game (1943), by Nobel Prize-winning novelist Hermann Hesse, the current era is characterized and described as "The Age of the Feuilleton".^[3] In Hesse's novel, this so-called age of the feuilleton, viewed retrospectively from a future scholarly society called Castalia, is generally but not simply portrayed as having an overweening, trivializing or obfuscating character such as is associated with the arbitrary and primitive nature of social production prior to the historical denouement that resulted in the creation of Castalia. The bourgeois feuilleton of the Belle Époque, especially in France during the period of the Dreyfus affair, as well as those of Fascist Germany, served to effect Kulturpolitik; they established norms and tastes, contributed to the formation of social identity, and often expressed an underlying antisemitism. Glasperlenspiel was written during World War II, and Hesse would have been reacting in part to these real historical developments.^{[citation needed]} In Maxim Gorky's novel "Foma Gordeev" the character Ezhóff is described as a feuilleton writer.

Like the fantasy Hesse created a region Castalia, a scholar’s haven where mastery of the arts and sciences counts, I created Emeralda. Where invented the Glass Bead Game, I invented Games for the gifts of life. In this imaginary space – played out in the media of its origination - I practice like a musician practices on an instrument. Sometimes it is an etching press—but seldom these days. Most often it is on a multimedia computer system with software only, my hands touching on keyboards, microphones and digital imaging devices such as cameras.

Most of what I produce are pages for the World Wide Web pages. However, like that dinosaur (or wolf or other species whose bones you see in the La Brea Tar Pits in Los Angeles), I cannot escape into the ordinary world in this age of the feuilleton.

I had in mind valuation of my art when I began writing my memoir. In particular, as a way to finance the IPCI feasibility study, selling my art would raise the money. Anyone reading my life story may find my story justifying my big idea of IPCI. My story may validate my idea(s).