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Peacemaking: of serious joking and most studious play

Sunday, October 12th, 2014

[ by Charles Cameron -- on the aesthetic element in DoubleQuotes, and peacemaking as making connections; together with Renaissance phrasing of the same ideas ]
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rice hoops
Ambassador Susan Rice on the White House court with the Israeli & Palestinian Peace Players Yesterday

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There’s a fair amount of gaming leaking into the blogging I read these days.

Col. Pat Lang at Sic Semper Tyrannis is hosting an IS/Coalition War Game [1, 2, 3], while over at PAXsims, Rex Brynen is hosting the “game developer’s diary” of Alex Langer, a McGill undergraduate who is “designing a wargame of the current Syrian civil war as a course project” [1, 2].

Both efforts are of interest, but what the PAXsims venture makes clear to me is that I have been using my Zenpundit blogging as, among other things, a “game developer’s diary” for my own game thinking, and in particular for my thoughts about the DoubleQuotes format as a playful / serious analytic tool.

Both playful and serious, because all fresh thinking requires the application of a playful spirit to serious ends — an approach illustrated by the image of Palestinian and Israeli kids on the White House basketball court at the head of this post, by the West-Eastern Divan Orchestra put together by Edward Said and Daniel Barenboim — and enshrined in the Florentine Renaissance motto “iocari serio et studiosissime” — which Marsilio Ficino, the genius behind the Florentine Renaissance, named as the core practice of Pythagoras, Socrates and Plato – “joking seriously and playing assiduously” in Edgar Wind‘s translation.

Which would among other things be the Renaissance Platonist’s answer to Scott Shipman‘s question posed here the other day, What tools do you use to boost your creativity?

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Ficino also said, “the task of Magic consists in comparing things to one another”, as quoted by Mircea Eliade in his Foreword to Ioan Couliano‘s great book, Eros and Magic in the Renaissance.

That’s precisely what my own games do, expressed in Renaissance terms, and my DoubleQuotes in particular.

In terms of theorizing about them, one point I may not have emphasized enough is that the quality of a given DoubleQuote (or move in a HipBone or Sembl game) is dependent on the aesthetics of the juxtaposition.

Let me give you a simple example, not taken from my own work but from a “DoubleQuote in the Wild” — the header illustration to a recent FP post, The Activists Assad Hates Most Are Now Obama’s Problem. FP could have used any two photos of Obama and Assad, photos of Obama on the phone in the Oval Office, say, or Assad against the background of the Syrian flag — but they chose two images that showed the two men in near-identical poses, and it’s that near-identity which gives force to the juxtaposition:

obamaassad

Likewise, I could have chosen any one of a flock of quotes to illustrate British and American forces entering Baghdad in 1917 and 2003 respectively — but the most effective way to make the point was via two quotes that very closely paralleled each other:

SPEC Baghdad

That too is fundamentally an aesthetic choice — a choice that favors the simple elegance of the tightest available symmetry.

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The image at the head of this post show Ambassador Rice on the Court with the Peace Players Yesterday

Peacemaking, too, is often a matter of bringing out the similarities between otherwise opposing forces.

As Nicholas of Cusa, Cardinal of the Roman Church, said in his De ludo globi / Of the Game of Spheres, a distant forefather to Hesse’s Glass Bead Game and thence to my own various games:

This game is played, not in a childish way, but as the Holy Wisdom played it for God at the beginning of the world.

Luditur hic ludus; sed non pueriliter, at sic / Lusit ut orbe nova Sancta Sophia Deo.

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Happily or sadly, our AIs still lack the creative leap

Saturday, October 11th, 2014

[ by Charles Cameron -- on one current comparative advantage of being human, and calling for the design of a ReSearch Engine ]
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You may not like hymns — or thrash metal. Facebook, whose market value topped $100 billion about a year ago, “thought” that if I liked this video:

I might also like this “related video”:

State of the art! Big Data! Analogical thinking!

Seems like the algorithm didn’t listen to the music, it just decided “King of Heaven” and “in Heaven, King” were pretty similar as word-groups go.

Actually, their reasoning is not that bad, once you think about it in DoubleQuotes terms — they’ve stumbled on an “opposite” rather than a “similar” — but as we’ve seen with such examples as Oxford and Cambridge, or the Army / Navy game, opposites and similars aren’t so dissimilar after all.

Sadly, when it comes to musical tastes, opposites don’t necessarily work too well, and similars would in this case have been preferable.

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But the issue is human cognition and the attempts of computer scientists to match it — and specifically, to match and even surpass our analogical powers.

As I wrote in WikiLeaks: Critical Foreign Dependencies, in an online chat session with David Gelernter years ago, I said:

My own hunch is that an aesthetic sense is *the great sorting principle*, that it has to do with pattern recognition, and specifically the recognition of isomorphisms, parallelisms in deep structure. So an AI that recognized deep isomorphisms across wide topic distances would be the ideal web navigator, as an I that recognizes deep isomorphisms across wide topic distances is a creative mind. It would also be playing Hesse’s Bead Game, no?

to which he responded:

Hipbone, I think basically, that’s exactly right. I wrote a book about this issue of what you call recognizing isomorphisms in widely different domains, a tremendously important issue in how the human mind works.

From my POV, the human mind recognizing a rich correspondence between two rich insights, perhaps even from widely separate domains, is the very essence of creativity — isn’t that what the Taniyama-Shimura conjecture – and thus the eventual proof of Fermat’s last theorem – was all about?

My brief chat with Gelernter dates to 1998, his book The Muse in the Machine: Computerizing the Poetry of Human Thought, to 1994. On pp. 2-3, he writes:

Reasoning is one big part of human thought, and thought science has reasoning decently under control. Philosophers and psychologists understand it and computers, up to a point, can fake it. But there is one other big piece of the picture, which goes by many names: creativity, intuition, insight, metaphoric thinking, “holistic thinking”; all these tricks boil down at base to drawing analogies. Inventing a new analogy — hitching two thoughts together, sometimes two superficially unrelated thoughts — brings about a new metaphor and, it is generally agreed, drives creativity as well. Studies (and intuition) suggest that creativity hinges on seeing an old problem in a new way, and this so-called “restructuring” process boils down at base to the discovery of new analogies. How analogical thinking works is the great unsolved problem, the unknowable longitude, of thought science. “It is striking that,” as the philosopher Jerry Fodor remarks, “while everybody thinks analogical reasoning is an important ingredient in all sorts of cognitive achievements that we prize, nobody knows anything about how it works” — not even, Fodor adds (twisting the knife) in an “in the glass darkly sort of way” (1983, 107)

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For a comparable, consider this NYT evaluation of another tricky issue for AI — Brainy, Yes, but Far From Handy:

The correlation between highly evolved artificial intelligence and physical ineptness even has a name: Moravec’s paradox, after the robotics pioneer Hans Moravec, who wrote in 1988, “It is comparatively easy to make computers exhibit adult-level performance on intelligence tests or playing checkers, and difficult or impossible to give them the skills of a 1-year-old when it comes to perception and mobility.”

Brainy the current AI’s may be, and even beginning to manage physical agility — but mentally agile?

If they still can’t tell that a taste for classic hymns does not correlate closely with a taste for German thrash, they’re not agile enough for the HipBone / Sembl style of games..

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Derek Robinson wrote a piece about my HipBone Games and AI back in the 1990s. It’s succinct, it’s relevant.

Here’s how I see these matters: I am calling for the development of a ReSearch Engine, with the HipBone Games, Sembl and DoubleQuotes as devices to be used in its construction.

The ReSearch Engine’s purpose would be to learn from humanly identified analogies — gleaned from repeated playings of the HipBone, Sembl and DoubleQuotes games — to recognize deep and richly textured analogies across the breadth of human cultures, following the principle laid out above:

deep isomorphisms across wide topic distances

Such an Engine could hopefully provide us with the links of associative links that at the moment are glimpsed in moments of genius (think: Taniyama‘s conjecture of 1956 connecting the mathematical realm of elliptic curves and that of modular forms), which then take years to be ironed out and brought to fruition (think: Wiles‘ proof of the Taniyama–Shimura–Weil conjecture, along the way to his proof of Fermat’s Last Theorem, 1993).

The successful design of such an Engine would be a — hmmm– singular event.

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DoubleQuotes in the Wild: Iraq Redux?

Friday, August 8th, 2014

[ by Charles Cameron -- noted in passing, hat tip to Daveed Gartenstein-Ross, who retweeted this from Leo Shane III ]
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Of course, a weak (IMO) argument might be made that “fighting another war in Iraq” involves putting troops on the ground again, not “airstrikes to stop genocide” alone — but at a simple, verbal level I don’t buy it.

So there’s a disconnect, sure — but it’s the kind of disconnect that calls attention to itself — pretty much a statement and its negation. And from a DoubleQuotes / HipBone / Sembl point of view, that’s an intense form of connection, closer for instance than many types of kinship, or cause and effect:

Opposites are closely coupled.

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Locked horns: reading the abstract news

Sunday, June 1st, 2014

[ by Charles Cameron -- pattern recognition in news media, also polarization, Swiss cows, and klezmer ]
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Berkane & Bergamote, two Heren cows, lock horns for the title of 'queen' in Grimetz, Switzerland

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It’s fairly extraordinary what happens when you scan a news item or op-ed piece in search of those remarks that are abstractions from the particular topic of the piece. I was struck by this today when I read:

A tradition of vigorous, nuanced debate is increasingly being boiled down to a binary choice of worldviews.

I mean, how many other topics in the same newspaper that day might that sentence have been slipped into without causing an eyebrow to lift?

Of similar interest, perhaps, and from the same piece:

ultimately, a big tent does have parameters

That doesn’t strike me as quite as open an insight, but maybe that’s just because “big tent” has more speciic resonance. And then there was:

Both views are completely valid, but they can be conflicting

That one intrigues me because on the face of it, it’s a contradiction: maybe a little set theory, expressed in the form of slightly different wording, could resolve it.

Here’s one more, still from the same piece, with a touch of zen to it — or is that psychotherapy?

By looking at ourselves, we can be better people

And this one, forgive me, is simply chilling:

are you now or have you ever been … ?

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So, “big tent” and all, are we talking about the US Congress here?

Actually, those quotes all come from a Washington Post piece by Marc Fisher titled For Jewish groups, a stand-off between open debate and support of Israel — but that’s pretty much beside my point.

The thing is, as SI Hyakawa pointed out, good writing tends to be writing that moves up and down the “ladder of abstraction” from intimate details (“my cow Bessie” — or “Berkane” or “Bergamote” in this instance) to broad-sweep analysis (“13% of livestock in the region”), because details (and anecdotes) evoke emotion while statistics and abstractions ensure that the wider picture is not omitted from the telling.

WHich is why, among other things, in a world of think tanks and white papers which favor analytics and statictics almost to the exclusion of details and emotions, my own analytic tradecraft, as expressed in the HipBone Games and Sembl Thinking projects, favors quotes and anecdotes as highly as facts and stats.

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One of the specific art acts discussed in that WaPo piece is The Shondes‘ klezmer rock punk song, I Watched the Temple Fall [lyrics, YouTube ]. Here’s what the band has to say about the song:

We wrote “I Watched the Temple Fall” because we were thinking a lot about what Jews put our faith in, and where that faith really lives. We’d been talking about Abraham Joshua Heschel’s notion of Judaism as a religion of time, not space, and thinking about how that related to Zionism. Confining ideas into spaces (temples, states, what have you) can falsely polarize us and take us away from the big, important stuff. We wanted to write a song that clearly said, “Look, it might be devastating to face, but the state of Israel commits actions daily that violate the basic tenets of Judaism.

Rock, punk, and klezmer I don’t know much about, but Heschel‘s book The Sabbath is one that has moved me profoundly, and reading this particular statement made me wonder what David Ronfeldt might find of interest for his Space-Time-Action (STA) theory in the song, or in Heschel’s thought.

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Well, we began this post — about the attractions of abstraction — with an image of two Swiss cows named Berkane and Bergamote locking horns in a championship fight — here’s some klezmer from Itzhak Perlman — again, see, I’m climbing back down the ladder of abstraction to the level of the individual — to round things out:

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Krishna, Oppie and the Bomb

Wednesday, May 28th, 2014

[ by Charles Cameron -- following a lead from Adam Elkus, a little more on the (Hindu) theological side of the Trinity test ]
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WHen Oppenheimer saw the first nuclear fireball — apart from those supposedly recorded in legend, the sun in the sky, and presumably a whole heavenly host of stars — at the Trinity test in Alamogordo, July 16, 1945, he famously quoted the Indian scripture, Bhagavad Gita, either in his head or out loud:
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This post is to give those who may be interested a brief update on the relevance of that quotation.

I am grateful to Adam Elkus for pointing us to this post on Restricted Data, Oppenheimer and the Gita, which in turn led me to Dr Hijaya‘s paper, The Gita of J. Robert Oppenheimer in the Proceedings of the American Philosophical Society.

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I have a side note of caution here. Dr Hijaya notes in the Acknowledgments at the end of his paper:

Sanskrit is Greek to me, and Hinduism a mystery. Therefore I am immensely indebted to two scholars who provided me not only with translations of the language but also with innumerable insights into the philosophy: Peter M. Scharf, classics department, Brown University, Providence, R.I.; and Roy W. Perrett, philosophy department, Massey University, Palmerston North, N.Z.

Drs Scharf and Perrett both appear to be well qualified to have advised Dr Hijaya in matters Sanskrit, which seems si=gnificant since — among other things — Oppie himself had studied Sanskrit seriously, and was not simply quoting a line he’d picked up on a cursory reading of the text in some English translation.

Like Dr Hijaya, I have no knowledge of Sanskrit, and like him I relied on the help of other scholars, and particularly Chandra Das, in writing my own commentary on Oppie, various scriptures and the bomb, What Sacred Games? My post for a bloggers’ roundtable on nuclear weapondry in different religious contexts may also be of interest — The religious and apocalyptic background to nuclear policy making.

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Put into a nutshell, Dr Hijaya notes that the warrior Arjuna is unwilling at first to partake in the battle of Kurukshetra against an army that includes family, friends, and mentors. Krishna, who speaks with divine authority as the avatar of Vishnu, instructs him that it is his dharma or vocation as a warrior to fight, that he should perform actions because they are his to perform, without concern for their results, and that all those who will die in the battle are effectively already dead, since that is the divine will.

From a mortal perspective this is a hard truth to bear, but from the perspective of Vishnu it is appointed, necessary, all part of the divine lila or play — a concept the western Neoplatonist Plotinus expressed thus:

Men directing their weapons against each other- under doom of death yet neatly lined up to fight as in the pyrrhic sword-dances of their sport – this is enough to tell us that all human intentions are but play, that death is nothing terrible, that to die in a war or in a fight is but to taste a little beforehand what old age has in store, to go away earlier and come back the sooner. … Murders, death in all its guises, the reduction and sacking of cities, all must be to us just such a spectacle as the changing scenes of a play; all is but the varied incident of a plot, costume on and off, acted grief and lament. For on earth, in all the succession of life, it is not the Soul within but the Shadow outside of the authentic man, that grieves and complains and acts out the plot on this world stage which men have dotted with stages of their own constructing.

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One of the topics that should have been mentioned in that 7,000 word post and (irresponsibly?) wasn’t, is the first Indian nuclear test, which if I recall was officially termed “the Buddha’s smile” — an irony both devastating and delicious!

In a follow up post to be completed as time allows, I hope to address that issue.

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