I wanted to make a book that could outline the notion, the mechanism and its objective justifications in its purest form; that of observation. And observation is a common ground for science, art and philosophy. But I wanted to also make the book as a journal that could instruct and teach others of this idea so it could be subjected to the familiar and accepted deeper scrutiny of the scientific method.
I needed a way to reproduce the drawings and intuitively felt rendering the drawings directly onto copper plates and relief-etch printing was the best method for the style of drawings I had made and wanted to convey.
The words were a juggling act, and I nearly typeset them. But typeset to me represents something more mechanistic and I was capturing something that appealed to both mechanistic (extensa) and mindfulness (cogitans) aspects shaping the human form.
The hand-written cursive style was in context with the direction of the book (think William Blake). Also, as the model of the polarity-switching circuitry was theoretically chiral, to record all the drawings in mirror to thus have them print and be presented in the familiar anatomic view was a further test of the idea.
I wanted a book that was both readable and desirable , and a story-book, that could allow science and spirit to co-exist.