This document discusses the concepts of serendipity, emergence, and complexity. It explores how serendipity is more than just chance encounters, and involves an ability to creatively connect events and see opportunities that others may miss. True serendipity requires being open, attentive, and listening for unexpected discoveries and insights. The document suggests we are all capable of serendipity, but many are not given the freedom or trust to allow new ideas and patterns to emerge in a self-organizing way. Letting go of control and listening authentically to others may help unlock more serendipitous breakthroughs.
This is the first half of the presentation given at PhDO, Waag Society organized by Frank Kresin and Arne Hendriks. It is about my current artistic research PhD project roomforthoughts: Labyrinth Psychotica undertaken at Planetary Collegium, Plymouth University, dept M-Node, NABA, Milan.
Check this link out for a sound sample in the making: http://labyrinthpsychotica.org/Labyrinth_Psychotica/soundbite.html
aimed at understanding the 'emotional logic' of a 'psychotic' train of thought.
Extra special thanks go to Konstantin Leonenko and Raoul Wissink.
For more info: www.labyrinthpsychotica.org of www.facebook.com/LabyrinthPsychotica
All images in presentation are used in an educational setting, there where possible references are given and links provided.
The Pervasive Experience - project review July 2010Rob Manson
This document reviews the Pervasive Experience project. In this project the driving assumption is that increasingly pervasive, networked technologies are impacting our lives. The research question is: How is Pervasive Computing changing you?
This is the first half of the presentation given at PhDO, Waag Society organized by Frank Kresin and Arne Hendriks. It is about my current artistic research PhD project roomforthoughts: Labyrinth Psychotica undertaken at Planetary Collegium, Plymouth University, dept M-Node, NABA, Milan.
Check this link out for a sound sample in the making: http://labyrinthpsychotica.org/Labyrinth_Psychotica/soundbite.html
aimed at understanding the 'emotional logic' of a 'psychotic' train of thought.
Extra special thanks go to Konstantin Leonenko and Raoul Wissink.
For more info: www.labyrinthpsychotica.org of www.facebook.com/LabyrinthPsychotica
All images in presentation are used in an educational setting, there where possible references are given and links provided.
The Pervasive Experience - project review July 2010Rob Manson
This document reviews the Pervasive Experience project. In this project the driving assumption is that increasingly pervasive, networked technologies are impacting our lives. The research question is: How is Pervasive Computing changing you?
This #PlatformCoopBerlin report comprises an introduction into the notion of platform cooperativism, references and links to main activists, activities and further readings. You’ll also find a report on the first #platformCoopBerlin meet-up in Berlin on the 04.03.2016, including a transcript of Michel Bauwen’s speech at this gathering. This article might be useful for whoever wants to get a basic or better understanding of platform cooperativism. People intending to organise a #PlatformCoopX meetup in their own city or researching about the subject will also find helpful information, links and contacts
Process
Nathaniel Barr, PhD
What is creativity, anyway?
“Creativity is the ability to produce work that is both novel and appropriate”
~ Sternberg & Lubart
“Humans are animals that specialize in thinking and knowing, and our extraordinary cognitive abilities have transformed every aspect of our lives. In contrast to our chimpanzee cousins and Stone Age ancestors, we are complex political, economic, scientific and artistic creatures, living in a vast range of habitats, many of which are our own creation.”
-Cecelia Hayes
3
Systems view of Creativity
Hennessey & Amabile, 2010,
Annual Review of Psychology
“The term ‘cognition’ refers to all processes by which the sensory input is transformed, reduced, elaborated, stored, recovered, and used. It is concerned with these processes even when they operate in the absence of relevant stimulation, as in images and hallucinations... Given such a sweeping definition, it is apparent that cognition is involved in everything a human being might possibly do; that every psychological phenomenon is a cognitive phenomenon.”
Ulric Neisser, 1967, Cognitive Psychology
5
Spontaneous or deliberate creativity
Spontaneous: Insight
Deliberate: CPS
Meliorism
“humans can, through their interference with processes that would otherwise be natural, produce an outcome which is an improvement over the aforementioned natural one”
In order to interfere with processes and improve them, we need to know how things work…
Understanding your mind
Interfering with the natural way you think
Improvement of performance
Deliberate creativity
J.P. Guilford’s 1950 APA Address
“The neglect of this subject by psychologists is appalling…I examined the index of the Psychological Abstracts for each year since its origin. Of approximately 121,000 titles listed in the past 23 years, only 186 were indexed as definitely bearing on the subject of creativity.”
-Guilford
J.P. Guilford’s 1950 APA Address
“In other words, less than two-tenths of one per cent of the books and articles indexed in the Abstracts for approximately the past quarter century [1925-1950] bear directly on this subject.”
-Guilford
Intelligence
“Some of you will undoubtedly feel that the subject of creative genius has not been as badly neglected as I have indicated, because of the common belief that genius is largely a matter of intelligence and the IQ.”
-Guilford
Galton, Cattell, Cox, Terman, Spearman
Not just intelligence
Guilford’s address marked the “the emergence of a wider psychological interest in the non-intellective components of cognitive performance.”
-Shouksmith, 1970, p. 205
Increased attention
In decade following Guilford’s address, more than 800 records exist
-Arons, 1965
1927-1950: 4.5 papers per year
1950-1960: 80 papers per year
Ways of thinking, not just raw ability
“It took the genius of thinkers like Alex Osborn, an advertising executive, and Sidney Parnes, an academic research, to realize that ...
This #PlatformCoopBerlin report comprises an introduction into the notion of platform cooperativism, references and links to main activists, activities and further readings. You’ll also find a report on the first #platformCoopBerlin meet-up in Berlin on the 04.03.2016, including a transcript of Michel Bauwen’s speech at this gathering. This article might be useful for whoever wants to get a basic or better understanding of platform cooperativism. People intending to organise a #PlatformCoopX meetup in their own city or researching about the subject will also find helpful information, links and contacts
Process
Nathaniel Barr, PhD
What is creativity, anyway?
“Creativity is the ability to produce work that is both novel and appropriate”
~ Sternberg & Lubart
“Humans are animals that specialize in thinking and knowing, and our extraordinary cognitive abilities have transformed every aspect of our lives. In contrast to our chimpanzee cousins and Stone Age ancestors, we are complex political, economic, scientific and artistic creatures, living in a vast range of habitats, many of which are our own creation.”
-Cecelia Hayes
3
Systems view of Creativity
Hennessey & Amabile, 2010,
Annual Review of Psychology
“The term ‘cognition’ refers to all processes by which the sensory input is transformed, reduced, elaborated, stored, recovered, and used. It is concerned with these processes even when they operate in the absence of relevant stimulation, as in images and hallucinations... Given such a sweeping definition, it is apparent that cognition is involved in everything a human being might possibly do; that every psychological phenomenon is a cognitive phenomenon.”
Ulric Neisser, 1967, Cognitive Psychology
5
Spontaneous or deliberate creativity
Spontaneous: Insight
Deliberate: CPS
Meliorism
“humans can, through their interference with processes that would otherwise be natural, produce an outcome which is an improvement over the aforementioned natural one”
In order to interfere with processes and improve them, we need to know how things work…
Understanding your mind
Interfering with the natural way you think
Improvement of performance
Deliberate creativity
J.P. Guilford’s 1950 APA Address
“The neglect of this subject by psychologists is appalling…I examined the index of the Psychological Abstracts for each year since its origin. Of approximately 121,000 titles listed in the past 23 years, only 186 were indexed as definitely bearing on the subject of creativity.”
-Guilford
J.P. Guilford’s 1950 APA Address
“In other words, less than two-tenths of one per cent of the books and articles indexed in the Abstracts for approximately the past quarter century [1925-1950] bear directly on this subject.”
-Guilford
Intelligence
“Some of you will undoubtedly feel that the subject of creative genius has not been as badly neglected as I have indicated, because of the common belief that genius is largely a matter of intelligence and the IQ.”
-Guilford
Galton, Cattell, Cox, Terman, Spearman
Not just intelligence
Guilford’s address marked the “the emergence of a wider psychological interest in the non-intellective components of cognitive performance.”
-Shouksmith, 1970, p. 205
Increased attention
In decade following Guilford’s address, more than 800 records exist
-Arons, 1965
1927-1950: 4.5 papers per year
1950-1960: 80 papers per year
Ways of thinking, not just raw ability
“It took the genius of thinkers like Alex Osborn, an advertising executive, and Sidney Parnes, an academic research, to realize that ...
Personal Identity and Artificial IntelligenceDavid Hume (171.docxdanhaley45372
Personal Identity and Artificial Intelligence
David Hume (1711–1776) claims that the self is an illusion and that we can never, in any of our experiences, find a perception of the actual self. In his view, the self is constantly changing and you are never the same person one moment to the next. This view is not unlike some Eastern conceptions of the self and of the mind. It is also close to Jean-Paul Sartre’s notion that human beings are nothingness, that is, not-a-thing, and as such cannot be defined. There is no ego, there is no self. Accord- ing to Hume, all knowledge is based on sense impressions and on experiences. If this is the case, we don’t even have any evidence of the self, since any conception of iden- tity must be based on impressions. “It must be some impression that gives rise to every real idea,” he wrote in his Treatise on Human Nature. “The self is not any one impression, but that to which our several impressions are supposed to have a refer- ence.” There is no self. Therefore, as far as our idea of the self, Hume believed “there is no such idea.”
Although Hume argues against the self, other philosophers have argued for the existence of the self. Thomas Reid (1710–1796) argues that the mental ability of memory gives us reason to hold that the self exist. Daniel Dennett (1942) claims that a fundamental principle of evolution is self preservation as such the self must exist. The debate is not new, but recent scientific developments have made it more of a burning issue. If the self, the human mind, is a complex physical instrument—purely
“Listen carefully; what characterizes the mind is clinging to the notion of a self. But if one looks carefully into this ‘mind’, one actually sees no self at all. If you can learn how really to observe this [apparent] ‘nothing’, then you’ll find that “something” will be seen”
—Jetsun Milarepa, 1052–1135, The 100,000 Songs of Milarepa.
Although Hume argues against the self, other philosophers have argued for the existence of the self. Thomas Reid (1710–1796) argues that the mental ability of memory gives us reason to hold that the self exist. Daniel Dennett (1942) claims that a fundamental principle of evolution is self preservation as such the self must exist. The debate is not new, but recent scientific developments have made it more of a burning issue. If the self, the human mind, is a complex physical instrument—purely material, as most neuroscientists believe—then it is not only possible but probable that we will eventually explain everything there is to know about the self by studying how the brain works. And it is also possible and probable that a computer system will do that as well.
POWERFUL ANALYSIS: KNOW THY SELF?
Can we know the self, or is the self simple like an empty theater as Hume proclaims?
Materialism is the rule in the science, and that position permeates much phi- losophy as well; it is certainly an easier proposition to say that all there is, is matter— and thinking i.
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1. Why is the relationship between Geertz and Weber, assuming thatSantosConleyha
1. Why is the relationship between Geertz and Weber, assuming that they have one?What does “semiotic” mean? What could Geertz have in mind when he says that culture is “semiotic”? How does Geertz's notion of culture differ from that given above?
2. Who was John Ryle and why is he remembered? What is the point of Geertz’s long example, adapted from the work of Gilbert Ryle, where he discusses “twitches, winks, fake-winks, parodies, [and] rehearsals of parodies” (pp. 6-7)? How would Ryle's description of a wink differ from that of Geertz? How might these twitches, winks, and so on be analyzed if we understand the study of culture as an “experimental science”? How does our analysis change if we believe that the study of culture is “interpretive”?
3. Read the passage from Geertz’s field journal (pp. 7-9) again slowly, paying attention to detail. Describe what happens in in three or four sentences. What might Geertz mean at the end of the passage when he notes “how extraordinarily ‘thick’” even such an “elemental” ethnographic description must be? What are the implications of this “thickness” for the study of communication?
- __ ., ______ r-- _________ _
() I ,--h:: v'c.l fr re ( t 2:: . l q -r:-~
il,c ~~-( ,t +zcti(.>j td: C.i"-111,c/{_~)~ ---
} -· · - f[t; L_· " t"-l '-I . ' f'")lA... ') \ C . ,)
Chapter I /Thick
Description: Toward an
Interpretive Theory of
Culture·
I
In her book, Philosophy in a New Key, Susanne Langer remarks that
certain ideas burst. upon the intellectual landscape with a tremendous
force. They resolve so many fundamental problems at once that they
seem also to promise that they will resolve all fundamental problems,
clarify all obscure issues. Everyone snaps them up as the open sesame
of some new positive science, the conceptual center-point around which
a comprehensive system of analysis can be built. The sudden vogue of
such a grande idee, crowding out almost everything else for a while, is
due, she says, "to the fact that all sensitive and active minds turn at
once to exploiting it. We try it in every connection, for every purpose,
experiment with possible stretches of its strict meaning, with generaliza-
tions and derivatives."
After we have become familiar with the new idea, however, after it
has become part Qf our general stock of theoretical concepts, our expec-
4 THE INTERPRETATION OF CUL TURES
tations are bro_ught more into balance with its actual uses, and its exces-
sive popularity is ended. A few zealots persist in the old key-to-the-uni-
verse view of it; but less driven thinkers settle down after a while to the
problems the idea has really generated. They try to apply it and extend
it where it applies and where it is capable of extension; and they desist
where it does not apply, or cannot be extended. It becomes, if it was, in
truth, a seminal idea in the first place, a permanent and enduring part
of our intellectual armory. But it no longer has the grandiose, ...
1. Why is the relationship between Geertz and Weber, assuming thatBenitoSumpter862
1. Why is the relationship between Geertz and Weber, assuming that they have one?What does “semiotic” mean? What could Geertz have in mind when he says that culture is “semiotic”? How does Geertz's notion of culture differ from that given above?
2. Who was John Ryle and why is he remembered? What is the point of Geertz’s long example, adapted from the work of Gilbert Ryle, where he discusses “twitches, winks, fake-winks, parodies, [and] rehearsals of parodies” (pp. 6-7)? How would Ryle's description of a wink differ from that of Geertz? How might these twitches, winks, and so on be analyzed if we understand the study of culture as an “experimental science”? How does our analysis change if we believe that the study of culture is “interpretive”?
3. Read the passage from Geertz’s field journal (pp. 7-9) again slowly, paying attention to detail. Describe what happens in in three or four sentences. What might Geertz mean at the end of the passage when he notes “how extraordinarily ‘thick’” even such an “elemental” ethnographic description must be? What are the implications of this “thickness” for the study of communication?
- __ ., ______ r-- _________ _
() I ,--h:: v'c.l fr re ( t 2:: . l q -r:-~
il,c ~~-( ,t +zcti(.>j td: C.i"-111,c/{_~)~ ---
} -· · - f[t; L_· " t"-l '-I . ' f'")lA... ') \ C . ,)
Chapter I /Thick
Description: Toward an
Interpretive Theory of
Culture·
I
In her book, Philosophy in a New Key, Susanne Langer remarks that
certain ideas burst. upon the intellectual landscape with a tremendous
force. They resolve so many fundamental problems at once that they
seem also to promise that they will resolve all fundamental problems,
clarify all obscure issues. Everyone snaps them up as the open sesame
of some new positive science, the conceptual center-point around which
a comprehensive system of analysis can be built. The sudden vogue of
such a grande idee, crowding out almost everything else for a while, is
due, she says, "to the fact that all sensitive and active minds turn at
once to exploiting it. We try it in every connection, for every purpose,
experiment with possible stretches of its strict meaning, with generaliza-
tions and derivatives."
After we have become familiar with the new idea, however, after it
has become part Qf our general stock of theoretical concepts, our expec-
4 THE INTERPRETATION OF CUL TURES
tations are bro_ught more into balance with its actual uses, and its exces-
sive popularity is ended. A few zealots persist in the old key-to-the-uni-
verse view of it; but less driven thinkers settle down after a while to the
problems the idea has really generated. They try to apply it and extend
it where it applies and where it is capable of extension; and they desist
where it does not apply, or cannot be extended. It becomes, if it was, in
truth, a seminal idea in the first place, a permanent and enduring part
of our intellectual armory. But it no longer has the grandiose, ...
Johnny Depp Long Hair: A Signature Look Through the Yearsgreendigital
Johnny Depp, synonymous with eclectic roles and unparalleled acting prowess. has also been a significant figure in fashion and style. Johnny Depp long hair is a distinctive trademark among the various elements that define his unique persona. This article delves into the evolution, impact. and cultural significance of Johnny Depp long hair. exploring how it has contributed to his iconic status.
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Introduction
Johnny Depp is an actor known for his chameleon-like ability to transform into a wide range of characters. from the eccentric Captain Jack Sparrow in "Pirates of the Caribbean" to the introspective Edward Scissorhands. His long hair is one constant throughout his evolving roles and public appearances. Johnny Depp long hair is not a style choice but a significant aspect of his identity. contributing to his allure and mystique. This article explores the journey and significance of Johnny Depp long hair. highlighting how it has become integral to his brand.
The Early Years: A Budding Star with Signature Locks
1980s: The Rise of a Young Heartthrob
Johnny Depp's journey in Hollywood began in the 1980s. with his breakout role in the television series "21 Jump Street." During this time, his hair was short, but it was already clear that Depp had a penchant for unique and edgy styles. By the decade's end, Depp started experimenting with longer hair. setting the stage for a lifelong signature.
1990s: From Heartthrob to Icon
The 1990s were transformative for Johnny Depp his career and personal style. Films like "Edward Scissorhands" (1990) and "Benny & Joon" (1993) saw Depp sporting various hair lengths and styles. But, his long, unkempt hair in "What's Eating Gilbert Grape" (1993) began to draw significant attention. This period marked the beginning of Johnny Depp long hair. which became a defining feature of his image.
The Iconic Roles: Hair as a Character Element
Edward Scissorhands (1990)
In "Edward Scissorhands," Johnny Depp's character had a wild and mane that complemented his ethereal and misunderstood persona. This role showcased how long hair Johnny Depp could enhance a character's depth and mystery.
Captain Jack Sparrow: The Pirate with Flowing Locks
One of Johnny Depp's iconic roles is Captain Jack Sparrow from the "Pirates of the Caribbean" series. Sparrow's long, dreadlocked hair symbolised his rebellious and unpredictable nature. The character's look, complete with beads and trinkets woven into his hair. was a collaboration between Depp and the film's costume designers. This style became iconic and influenced fashion trends and Halloween costumes worldwide.
Other Memorable Characters
Depp's long hair has also been featured in other roles, such as Ichabod Crane in "Sleepy Hollow" (1999). and Roux in "Chocolat" (2000). In these films, his hair added a layer of authenticity and depth to his characters. proving that Johnny Depp with long hair is more than a style—it's a storytelling tool.
Off-Screen Influenc
What Makes Candle Making The Ultimate Bachelorette CelebrationWick & Pour
The above-discussed factors are the reason behind an increasing number of millennials opting for candle making events to celebrate their bachelorette. If you are in search of any theme for your bachelorette then do opt for a candle making session to make your celebration memorable for everyone involved.
La transidentité, un sujet qui fractionne les FrançaisIpsos France
Ipsos, l’une des principales sociétés mondiales d’études de marché dévoile les résultats de son étude Ipsos Global Advisor “Pride 2024”. De ses débuts aux Etats-Unis et désormais dans de très nombreux pays, le mois de juin est traditionnellement consacré aux « Marches des Fiertés » et à des événements festifs autour du concept de Pride. A cette occasion, Ipsos a réalisé une enquête dans vingt-six pays dressant plusieurs constats. Les clivages des opinions entre générations s’accentuent tandis que le soutien à des mesures sociétales et d’inclusion en faveur des LGBT+ notamment transgenres continue de s’effriter.
From Stress to Success How Oakland's Corporate Wellness Programs are Cultivat...Kitchen on Fire
Discover how Oakland's innovative corporate wellness initiatives are transforming workplace culture, nurturing the well-being of employees, and fostering a thriving environment. From comprehensive mental health support to flexible work arrangements and holistic wellness workshops, these programs are empowering individuals to navigate stress effectively, leading to increased productivity, satisfaction, and overall success.
Is your favorite ring slipping and sliding on your finger? You're not alone. Must Read this Guide on What To Do If Your Ring Is Too Big as shared by the experts of Andrews Jewelers.
4. from 2012 post on youblog: rgbwaves & fourier & crickets
[rgbwaves .. love their site graphic]
the serendipity already is. everywhere.
the sync is what matters. can we listen for that.
5. The only wherewithal we might have to rely on is the
quality of our feelings and thinking brought together
through the habit of ‘practice and serendipity’ or
simply having a ‘prepared attentive mind’
since the need is to adapt moment to
moment. Or simply stated, our contextual intelligence
can come to our rescue to maintain balance.
life in perpetual beta
embracing uncertainty
antifragile
http://rgbwaves.com/2012/08/10/problems-landscapes-habits-leadership-in-the-21st-century/
6. Nemetics is a flexible thought model that
allows us to synthesize mathematical thinking,
subjective insights and feelings to re-design
our lives for the better. The objective of the
flexible thought model is to make sense of
complex adaptive systems and to act upon
them. It may be effectively applied to various
fields like organizations, manufacturing
systems, engineering, organizational sociology,
economics, design, system design, system
reliability and even to psychology and a host of
others fields.
or to people. 7 billion+ of them.. no?
http://rgbwaves.com/2012/08/10/problems-landscapes-habits-leadership-in-the-21st-century/
7. In short Nemetics can be best described as a
study of origins of the various complex
phenomena within which we exist. Or in other
words it is the ontological inquiry in
general that seeks the
transcendental truths operating
behind everyday phenomenon.
perhaps we’re missing the dance.. because we
keep looking elsewhere for the dance steps..
when they
(the steps, the music, the rhythm, the sync-ability)
are already inside each one of us.
http://rgbwaves.com/2012/08/10/problems-landscapes-habits-leadership-in-the-21st-century/
8. so perhaps.. serendipity is most about
listening.
(ie: not even about creating the perfect spaces for
serendipity to happen, unless we decide that simply entails
– freeing all art-ists at the same time, in sync)
perhaps if we just focus on 2 things
(authenticity & attachment)
we’ll give serendipity
(peace, betterness, et al)
a chance.
because
perhaps authenticity is the only way we hear
the things we need to hear.
and because
perhaps attachment is the only thing that
keeps us safe/calm/home/quiet/free
enough
to keep on
listening.
(input matters if output matters ness)
9. Since the aim of Nemetics is to gain direct
knowledge of the transcendental the
fundamental premise is praxis
for the simple reason that the theory of such
complex emergence ... simply might not exist.
It has to be worked out. The idea is to move
from practice to theory and then to practice
again.
http://rgbwaves.com/2012/08/10/problems-landscapes-habits-leadership-in-the-21st-century/
10. When many oscillators couple together they
form a general group pattern. Appearance of
such a group pattern is what is known as
‘emergence’. Thus our task perhaps simplifies
to understanding and interpreting such
patterns exhibited by group behavior, which
are simply known as emergence.
again.. serendipity et al
not about the
prep/design-of-a-space/structure/system
as we generally view these things
(ie: design classroom or office space or even city, et al).
but about the
bravery/freedom/openness/awakeness/aliven
ess/trust
to let it/us emerge.
listen/emerge/listen. all one dance of improv.
no prep.
as prep.
http://rgbwaves.wordpress.com/2012/08/05/how-to-embrace-uncertainty-of-complex-systems-with-a-smile/
11. which is great news
we don’t have to have years of training
or mounds of manuals/policy/bureaucracy
or only let certain credentialed people be
in charge of the day.
we just have to free people.
and trust that.
let’s do that first.
and just see.
we’ve spent plenty of years doing it
the other way around.
(the B/b way)
12. Hence faced with an issue on
‘interdependence’ we have two tasks ahead of
us. First is to understand and interpret the
group behavior and patterns that emerge.
There are several ways of going about it. One
of my favorite is to see the wave patterns
generated. The idea is to identify the type of
wave and the type of attractor that it might be
associated with.
perhaps the
interdependence/interconnectedness of
humans
relies more on trusting 100% of us.
perhaps we haven’t yet seen the (serendipitous)
dance
because we haven’t yet trusted 100%
of us.
(www won’t work w/o the whole world. rewire for ni.)
http://rgbwaves.wordpress.com/2012/08/05/how-to-embrace-uncertainty-of-complex-systems-with-a-smile/
13. fourier and crickets..
Maria Popova (@brainpicker)
8/18/12 3:01 PM
“Our ability to cope with uncertainty is
one of the most important requirements
for success in life.” Risk Intelligence j.mp/OZIpkh
14. A faster transform means that less computer
power is required to process a given amount of
information—a boon to energy-conscious
mobile multimedia devices such as smart
phones. Or with the same amount of power,
engineers can contemplate doing things that
the computing demands of the original FFT
made impractical. For example, Internet
backbones and routers today can actually read
or process only a tiny trickle of the river of bits
they pass between them. The SFT could allow
researchers to study the flow of this traffic in
much greater detail as bits shoot by billions of
times a second.
like the vision/thinking of David‘s vest
another sense. all about grokkingness.
a refocus: self-talk as data.
a revolution of everyday life.
http://www2.technologyreview.com/news/427676/a-faster-fourier-transform/
15. More-intelligent-species-on-Earth-than-
Humans – crickets
The wave based communication of Humans is
far more limited than crickets, seen in
places like dance clubs, prices in stock markets
(less total stocks than neurons in a small
number of crickets brains), body language, etc,
but these wave based communications of
Humans do not tend to spread to other
Humans nearly as well as oscillating sounds
spread in large groups of crickets. Humans
communicate mostly in words.
Crickets communicate mostly in waves. There
are waves of words as ideas flow through
society, which we call memes, but at the
brainwave level we are still communicating
between brain cells like crickets communicate
with sound.
http://spacecollective.org/BenRayfield/7821/More-intelligent-species-on-Earth-than-Humans
16. perhaps we go with way more/less words
and just focus on
listening-to/riding/feeling/grokking/whatevering the waves.
still.
quiet.
enough.
17. Serendipity means a “fortunate happenstance”
or “pleasant surprise”. It was coined by Horace
Walpole in 1754. In a letter he wrote to a
friend Walpole explained an unexpected
discovery he had made by reference to a
Persian fairy tale, The Three Princes of
Serendip. The princes, he told his
correspondent, were “always making
discoveries, by accidents and sagacity, of things
which they were not in quest of”.
18. The notion of serendipity is a common
occurrence throughout the history of scientific
innovation such as Alexander Fleming’s
accidental discovery of penicillin in 1928 and
the invention of the microwave oven by Percy
Spencer in 1945.
19. Serendipity is not just a matter of a random
event, nor can it be taken simply as a synonym
for “a happy accident” (Ferguson, 1999; Khan,
1999), “finding out things without
being searching for them” (Austin,
2003), or “a pleasant surprise” (Tolson, 2004) ..
difference between random and whimsy
perhaps what makes the chaos a dance
20. The New Oxford Dictionary of English defines
serendipity as the occurrence and
development of events by chance in a
satisfactory or beneficial way, understanding
the chance as any event that takes place in the
absence of any obvious project
(randomly or accidentally), which is not
relevant to any present need, or in which the
cause is unknown.
no agenda ness
21. Innovations presented as examples of
serendipity have an important characteristic:
they were made by individuals able to
“see bridges where others saw holes” and
connect events creatively, based on the
perception of a significant link.
i’m guessing we all have this ability.
we just haven’t given most of us
(so any of us)
a chance.
22. The chance is an event, serendipity a capacity. The
Nobel Prize laureate Paul Flory suggests that
significant inventions are not mere accidents.
[..]
The serendipitous can play an important role in
the search for truth, but because of traditional
scientific behavior and scientific thinking based on
logic and predictability is often ignored in the
scientific literature.
23. you can explode with abundant serendipitous
encounters all you want
if people aren’t awake/looking/listening
makes not enough difference.
24. One day we might be able to stumble upon
new and better ways of getting lost.
– Pagan Kennedy
absolutely
a nother way
we can today
we can’t not
for (blank)’s sake
http://mobile.nytimes.com/2016/01/03/opinion/how-to-cultivate-the-art-of-serendipity.html
25. A major part of decision-making involves the
analysis of a finite set of
alternativesdescribed in terms of
evaluative criteria.
redefineschool.com/gupta-roadblock-law/
from redefineschool.com/decision-making/
26. from waggle dance to intelligent swarming unu pucks..
and w/a finite group of people..
this is the difference today… no?
perhaps why we have not yet… gotten to a place of
tweaking/changing agency (Smári) – we’re stuck clinging to consensus
and finite/engineering ness
redefineschool.com/louis-rosenberg/
redefineschool.com/smari-mccarthy/
27. we can’t seem to
enough.. to let people.. all of us.. dance..
and dance whenever/wherever/however with whomever
and dance as though we might change our mind tomorrow..
perhaps our democratic ness is our worst perpetuation (of not-us ness)
because it claims/appears to be letting go.
letting us dance.
yet.. deciding what we should be dancing about.. and who we should be
dancing with..
redefineschool.com/perpetuate/
redefineschool.com/spinach-or-rock/
28. we need a mechanism that helps us all…
enough.. to let people.. all of us.. dance..
to ongoingly have space/silence enough to listen to/for the rhythm of us.
redefineschool.com/mechanism-simple-enough/
29. imagine being brave enough, awake enough, open/free enough..
to let our dancing be antifragile
31. a lot of flapping/verbiage/whatever going on in this deck
might be perceived as planning/controlling/engineering ness.
meant.. as reassurance/whatever to the ones seeking
flapping/verbiage/engineering/whatever
l e t g o
the serendipity already is. everywhere.
the sync is what matters. can we listen for that.
32. less about controlling/engineering ..
more about letting go..
aka: listening for the serendipitous already in us
has to be all of us
redefineschool.com/www/
redefineschool.com/as-the-day/