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[by Lynn C. Rees, with points from John Boyd]

Earlier this year, Scott kindly shared a PDF index of the John Boyd Papers (see tail end of PDF here). While PDFs are good for preserving document layout, they’re poor at storing clean text data. Since I wanted the index in a spreadsheet to facilitate searching and sorting, this was a issue. Data extraction into machine readable formats remains painful. Data extraction from PDFs remains even more painful: the priority of PDFs is prettiness for the human eye not prettiness for the machine.

Fortunately, pdftotext can extract the text data to plain text. But, even then, the John Boyd index text was misaligned and out of order due to its formatting in the original document. It also needed to be broken down into useful chunks that could be mapped to spreadsheet cells. I decided to use Freeplane to reformat the text into a form appropriate for piping into a spreadsheet since it has elements of asynchronous text editing.

I don’t know if a true asynchronous text editor exists. I’m not sure I know what one would look like. But I have some notion of what it isn’t. Most text editors and word processors are good at sequential editing of text. They only sort of approach asynchronous text editing where text is moved around and reordered freely without copy and pasting. Asynchronous text editing was what I wanted and Freeplane kind of does it.

I pasted the plain text into Freeplane and started breaking it down. Progress was slow. A lot of awkward and time-consuming cutting and pasting was required and this  was annoying. I had to create additional text manipulation tools for Freeplane. Then things moved along nicely.

Due to intervening time constraints, the Boyd Papers index hasn’t made it to spreadsheet form yet. However, it is broken down in Freeplane. Though mind maps are most commonly used as a brainstorming tool, they are also useful for rearranging existing text data in a hierarchy. Since the John Boyd index mind map is a useful example of this, here’s what’s done so far:

• the index as an image (5.9 MB in size, require some magnification within the browser)
• original Freeplane mindmap (536.7 KB in size) 

Makers: The New Industrial Revolution by Chris Anderson 

This is a fun book  by the former editor-in-chief of WIRED , author of The Long Tail and the co-founder of 3D Robotics, Chris Anderson. Part pop culture, part tech-optimist futurism and all DIY business book, Anderson is preaching a revolution, one brought about by the intersection of 3D printing and open source “Maker movement” culture, that he believes will be bigger and more transformative to society than was the Web. One with the potential to change the “race to the bottom” economic logic of globalization by allowing manufacturing entrepreneurs to be smart, small, nimble and global by sharing bits and selling atoms.

Anderson writes:

Here’s the history of two decades of innovation in two sentences: The past ten years have been about discovering new ways to create, invent, and work together on the Web. The next ten years will be about applying those lessons to the real world.

This book is about the next ten years.

….Why? Because making things has gone digital: physical objects now begin as designs on screens, and those designs can be shared online as files…..once an industry goes digital in changes in profound ways, as we’ve seen in everything from retail to publishing. The biggest transformation, but in who’s doing it. Once things can be done on regular computers, they can be done by anyone. And that’s exactly what we’re seeing happening in manufacturing.

…..In short, the Maker Movement shares three characteristics,  all of which I’d argue are transformative:

1. People using digital desktop tools to create designs for new products and prototype them (“digital DIY”)

2. A cultural norm to share those designs and collaborate with others in online communities.

3. The use of common design file standards that allow anyone, if they desire, to send their designs to commercial manufacturing services to be produced in any number, just as easily as they can fabricate them on their desktop. This radically foreshortens the path from idea to entrepreneurship, just as the Web did in software, information, and content.

Nations whose entire strategy rests upon being the provider of cheapest labor per unit cost on all scales are going to be in jeopardy if local can innovate, customize and manufacture in near-real time response to customer demand. Creativity of designers and stigmergic /stochastic collaboration of communities rise in economic value relative to top-down, hierarchical production systems with long development lags and capital tied up betting on having large production runs.

Interesting, with potentially profound implications.

[ by Charles Cameron -- mapping, holding two worldviews in mind at one time, a conductor's score, complexity thinking ]
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About a year ago, the Atlantic reported that the Library of Congress had been given a map of the flat earth, designed according to Biblical principles — yet showing knowledge of the border between the United States and Canada…

Thanks to a post from Jason Wells, I saw it today.

The view that the earth is flat is one worldview, of course, and no longer the prevailing one. As Nicholas Jackson noted at the Atlantic:

The interesting thing about the map is that it was created about 120 years ago by Orlando Ferguson, then a practicing physician in Hot Springs [South Dakota]. This is more than 500 years after most educated people gave up on the idea of the Earth as flat and accepted the spherical viewpoint first expressed by the Ancient Greeks.

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It is, however, possible to hold two worldviews in mind at the same time. John Donne manages it in the first line of his extraordinary poem, written at a time when the two views were clashing:

At the round earths imagin’d corners, blow

AT the round earths imagin’d corners, blow
Your trumpets, Angells, and arise, arise
From death, you numberlesse infinities
Of soules, and to your scattred bodies goe,
All whom the flood did, and fire shall o’erthrow,
All whom warre, dearth, age, agues, tyrannies,
Despaire, law, chance, hath slaine, and you whose eyes,
Shall behold God, and never tast deaths woe.
But let them sleepe, Lord, and mee mourne a space,
For, if above all these, my sinnes abound,
‘Tis late to aske abundance of thy grace,
When wee are there; here on this lowly ground,
Teach mee how to repent; for that’s as good
As if thou’hadst seal’d my pardon, with thy blood.

Donne accomplishes the task of holding two worldviews in mind at one time with four simple words: “round earths imagin’d corners”.

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I don’t know how many melodic “lines of thought” the mind can hold in counterpoint at once. I do know it’s an important cognitive skill for us to cultivate. A classical conductor must surely be able to hold as many lines as there are in this page of Olivier Messaien‘s Oiseaux:

As I pointed out in a recent comment here, “somewhere above three and before eleven there’s a point — Miller’s ‘magical number seven, plus or minus two‘ where the human mind can’t hold any more detail, so that’s a cut-off of sorts.”

Well, Messaien clearly imagines the conductor’s mind can follow more than eleven paths…

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And then there’s Bob Milne.

I’ll let the Philosophy Compass take it from here:

Bob is predominantly known for his piano concerts of Ragtime and Bogie-Woogie music – and was given the moniker of ‘National Treasure’ by the United States Library of Congress. It was at one of these concerts that drew the attention of Penn State neuroscientist Kerstin Bettermann. At his concerts, Bob often carries on conversations, telling stories and jokes, while simultaneously modulating key signatures over the polyrhythmic Ragtime music. In their broadcast, Radiolab discusses with Dr. Bettermann why this is so surprising.

Language use and musical competency often use the same neural resources: the prototypical language areas in the left hemisphere of the brain, and the working memory circuit that keeps information available and rapidly accessible for a short-period of time. Our ability to use language and engage with music should, on most models of the brain, be competing for these neural resources and interfere with one another. Not so with Bob – he appears to be able to tackle both tasks with ease. Further, while most people can approach this kind of competency in multi-tasking, it usually involves many learning trials, a process of sedimenting the learning into what psychologists call procedural memory, which may have its roots in a different brain region, the cerebellum. But Bob can hear a tune just once, and play it back with commentary.

But that’s not all Bob can do.

In their interview, Dr. Bettermann heard Bob claim something extraordinary. He claims not only to be able to hear a symphony in his head, but that he normally does this with two symphonies simultaneously. Where most individuals would only hear a cacophonous mess – Bob claimed he could dial the relative volume of either symphony up or down, and could zoom in or out of individual instrumentations. To return to the considerations above, Bob further states on the Radiolab website that he does this while driving – another procedural memory task and presumable source of interference. But when Dr. Bettermann challenged him, Bob reluctantly claimed that he could probably do the same (not while driving, mind you) with four simultaneous symphonies.

The claim is something like this: Bob states that he can hold and listen to four symphonies with different keys, instrumentation, tempo and style in his working memory at the same time. And what is stunning is that when they put Bob into an fMRI machine, they verified his claim. Bob could be stopped at any time during his imaginative trip through the four simultaneous symphonies, and hum out the exact phrase that the original recording would be on. Remarkable.

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This in turn takes us back to that point Edward Said made, which gave me the basic concept for my Said Sympohony (must get back to that soon):

When you think about it, when you think about Jew and Palestinian not separately, but as part of a symphony, there is something magnificently imposing about it. A very rich, also very tragic, also in many ways desperate history of extremes — opposites in the Hegelian sense — that is yet to receive its due. So what you are faced with is a kind of sublime grandeur of a series of tragedies, of losses, of sacrifices, of pain that would take the brain of a Bach to figure out. It would require the imagination of someone like Edmund Burke to fathom.

Edward W. Said, Power, Politics, and Culture, p. 447 — from the section titled “My Right of Return,” consisting of an interview with Ari Shavit from Ha’aretz Magazine, August 18, 2000.

I asked in a post yesterday how good we now are at modeling or simulating ideas in the “war of ideas” — just for a moment, suppose we could think through all complex geopolitical issues in this polyphonic, contrapuntal way…

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Okay, you deserve a reward for faithful reading if you’ve come this far with me. Here’s the incomparable Richard Burton reading Donne’s poem — the text is up above, if you want to follow along:

[ by Charles Cameron -- Escher, Borges, simulating the future, wargames, A Pattern Language, Sembl ]
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Ridiculous phrase, a library of windows. Unless you think, as I do, of books as windows onto different worlds, in which case it makes a whole lot of sense, and a decent library has more windows onto more profoundly different worlds than any physical room — and here we are getting into the territory of Jorge Luis Borges (links to Library of Babel) and Maurits Escher (image above).

And let me just state for the record that Godel Escher Bach could just as well have been Escher Carroll Borges, and that a comparison between the logics of Escher and Borges is one of the desiderata of our times.

That’s a Sembl move.

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Let’s expand the concept of window to include the sort of inter-worldview glimpse that Haaretz describes today here:

Last week, in a small beit midrash (study hall) named after Rabbi Meir Kahane in Jerusalem’s Shmuel Hanavi neighborhood, an emergency meeting was convened to discuss instigating freedom of religion and worship on the Temple Mount. It was a closed meeting attended by representatives of the Temple Institute, HaTenu’ah LeChinun HaMikdash (the Movement to Rebuild the Holy Temple) and the Temple Mount Faithful, as well as two representatives of Women for the Mikdash, and others. The activists met to try to understand how they could overcome the authorities, who they believe are plotting against them, and return to the Temple Mount. At this meeting, Haaretz was offered a rare behind-the-scenes glimpse of the most ardent activists in the battle to Judaize the Temple Mount.

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Here’s the meat of the post, as yet uncooked. Back in 2005, but brought to my attention today by Rex Brynen at Paxsims, is this piece from Strategy Page:

After eight years of effort, and spending over $300 million, the U.S. Army has officially received its new wargame (WARSIM) for training battalion, brigade, division, and as big as you want to get, commanders, and their staffs. Now even the most elaborate commercial wargame would not get $300 million for development, and eight years to create the system. But wargames for professional soldiers have different requirements, and a troublesome Department of Defense bureaucracy to deal with. First, the requirements. Commercial wargames shield the player from all the boring stuff (support functions, especially logistics.) But professional wargames must deal with these support activities, because in a real war, these are the things commanders spend most of their time tending too. …

WARSIM covers a lot of complex activities that a commander must deal with to achieve battlefield success. Besides logistics, there’s intelligence. Trying to figure out what the enemy is up to is, next to logistics, the commanders most time consuming chore.

– which in turn was referenced by Michael Peck writing in a Kotaku piece today titled Why It’s So Hard to Make a Game Out of the 21st Century:

Let’s build a game. Let’s make it a strategy game. We will realistically simulate global politics in the 2030s. Perhaps a sort of Civ or Supreme Ruler 2020-type system.

Where shall we start? How about something easy, like choosing the nations in the game? It’s simple enough to consult an atlas. We’ll start with Britain…but wait! Scotland is on the brink of declaring independence from the United Kingdom. Should Britain be a single power, or should England and Scotland be depicted as a separate nation? What about Belgium splitting into Flemish and Walloon states? And these are old, established European nations. How will states like Syria and Nigeria look in two decades? It was only a bit over 20 years ago that the Soviet Union appeared to be a unshakeable superpower that controlled Eastern Europe and Central Asia.

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Let’s cook that meat, let’s make a meal of it.

Peck’s piece goes into many other ways in which predictive gaming isn’t terribly productive.

But it left me asking the question, what would I do with a game-sized budget, if my aim was to push military and intelligence towards greater insight.

And my answer would be to embed information in walls. In corridors…

To build windows at sparse and irregular intervals into the internal corridors that connect any given office in the Pentagon or three-letter agency — or my local preference (hush, I know it’s the Glorious Fourth tomorrow) MI-5 and -6 — through which analysts and decision makers can glimpse snippets of information.

Which can then fall into the deep well of memory.

It is deep within that well of half-forgotten knowledge, ST Coleridge tells us, that the “hooks-and-eyes of memory” link one thought with another to build a creative third.

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A wall, then. I would build a wall embedded with facts and fancies, maps and illustrations, graphs and stats, film clips and news clips, anecdotes and quotes — even, perhaps, tiny alcoves here and there with books free for the taking, music CDs, DVDs of movies, old, new, celebrated, strange…

And I would be constantly shifting and rearranging the “views” from my windows, so that what was seen yesterday would not be what would be seen tomorrow — yet with a powerful index of words, topics, themes, memes, image contents, names of actors, newscasters, authors and so forth, so that what was once seem and dimly recalled could be recaptured.

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The concept here is pretty much the exact opposite of having a huge black poster proclaiming Creativity Matters!

Don’t get me wrong, creativity does matter (get that poster and others here), but it “works in mysterious ways its wonders to perform” — and the way to entice it is to see things out of the corner of the eye…

The windows I’m looking for, therefore, offer glimpses you wouldn’t necessarily notice if you were deep in thought or conversation, and conversely, wouldn’t see twice and grow so familiarized to that they’d become irrelevant by repetition. They’d be glimpsed in passing, their esthetic would be that of Christopher Alexander’s Zen View, pattern 134 in his brilliant work — the closest we have to a Western I Ching — Pattern Language:

The idea, then, is to seed the memory with half-conscious concepts, patterns, facts and images, carefully selected and randomly presented — so that those hooks and eyes have the maximum chance of connecting some scrap of curious information with a pressing problem.

Which is how creativity tends to work.

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That way each corridor becomes a game-board — but it is in the analyst’s focused mind that the game is played and won.

What you’d get, in effect, would be community-wide, ongoing free-form gameplay in complete alignment with the web-based game we’re currently developing at Sembl. Games of this genre will also have powerful application in conflict resolution.

And peace.

[ by Charles Cameron -- borrowing as the nature of creativity from lichen to origami, copyright ]
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Leonardo in his Treatise on Painting came up with what he called “a new theoretical invention for knowledge’s sake … of great utility in bringing out the creativity in some of these inventions”:

This is the case if you cast your glance on any walls dirty with such stains or walls made up of rock formations of different types. If you have to invent some scenes, you will be able to discover them there in diverse forms, in diverse landscapes, adorned with mountains, rivers, rocks, trees, extensive plains, valleys, and hills. You can even see different battle scenes and movements made up of unusual figures, faces with strange expressions, and myriad things which you can transform into a complete and proper form constituting part of similar walls and rocks. These are like the sound of bells, in whose tolling, you hear names and words that your imagination conjures up.

Borrow, he says, from nature.

Michelangelo, you may recall, used to see statues in chunks of marble, then chip away the excess to reveal what had been there all along…

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The stone-cutters whose marvelous ingenuity pieced together the stone wall in the Incan ruins of Ollantaytambo, Peru, depicted above in a photo by Teosaurio (under a CC BY-SA 2.0 license) borrowed stone from nature in somewhat the same manner, brilliantly.

Nature repaid the compliment, adding the colors of lichen to the sunlit and shadowed grey of stone.

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In Paris, the artist Mademoiselle Maurice has been adding her own kind of lichen to the shadowed and sunlit walls of Paris, in an installation she calls spectrum – her lichen being composed entirely of small, colored origami folds, by way of honoring the origami peace cranes of Hiroshima artist Sadako Sasaki.

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Origami?

Origami is an exquisite art in its own right, demonstrating once again that mathematics belongs as much to the arts and humanities as it does to the sciences and technology.

[Consider this bleeding together of arts and sciences as something of a crusade of mine. Photography is art, and it does not became science just because the photograph is of stars rather than stones: photography is science, and it does not become art simply because the stars are beautiful.]

One genius of the artful mathematics of folding would be Robert Lang, who, as Kevin Kelly just told us, “helped NASA design satellite folding/unfolding solar panels” and “uses computers to devise folding patterns to create impossibly detailed 3D organisms from a single piece of paper…”

One can hardly deny that his work is quite lovely:

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One might wonder whether Lang is the genius, or mathematics? Does he borrow from God, from some principle immanent in universe?

His diagram depicted, left, below, “will, when folded by him, turn into a convincing Rhinoceros Beetle”

Of the Rhinosceros beetle or of the butterfly one might ask, as William Blake asked of the Tyger:

Did He smile His work to see?
Did He who made the lamb make thee?

Science, naturally, somewhat believes it has the answer…

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Compare and contrast:

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Inappropriately appropriated? The very concepts battle each other into oxymoron fatigue.

The painter Susan Morris borrowed Robert Lang’s beautiful design, itself a WoA — useful bureaucratese devised by a friend of mine for filing Works of Art in a category of their own – to make the painting, also a WoA, depicted above, right.

Morris, it seems to me, takes Lang in a direction pioneered by Frank Stella:

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It was Kevin Kelly who juxtaposed Lang and Morris in the image above — in what I’d have claimed was a WoA in my DoubleQuotes format if I’d done it myself — so as to discuss copyright.

Or more precisely, copy — right or wrong?

Nature copies, without apology, with beauty – and, in the case of certain poisonous spores, without remorse. And are we not nature?

Here’s Leonardo again:

Don’t underestimate this idea of mine, which calls to mind that it would not be too much of an effort to pause sometimes to look into these stains on walls, the ashes from the fire, the clouds, the mud, or other similar places. If these are well contemplated, you will find fantastic inventions that awaken the genius of the painter to new inventions, such as compositions of battles, animals, and men, as well as diverse composition of landscapes, and monstrous things, as devils and the like. These will do you well because they will awaken genius with this jumble of things.

To study, to copy, to derive: this awakens genius. Who am I to disagree?