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Two ways a resemblance can be unwelcome

Monday, November 23rd, 2015

[ by Charles Cameron — NSFW, I repeat, NSFW , maybe ]

You can be photoshopped from Canada to France, Sikh to Muslim, &c —

The fake (on the left), photoshopped from the authentic selfie (on the right), was apparently created and posted because of the guy’s support of women in the games industry, cf Gamergate.


Alternatively, your name might sound suspiciously NSFW to non-Vietnamese=speaking ears:

Details at the link Cath at Sembl provides.

The process of associative memory

Wednesday, November 18th, 2015

[ by Charles Cameron — it seems — to me at least — that associative memory is at the root of creativity, and that the process, preconscious pattern-recognition, is basically aesthetic in nature ]


There’s the present moment — in this case, today’s tweet from the RNLI above.

And there’s the memory it elicits — in this case, Hokusai‘s Great Wave at Kanagawa, with its three little boats, tiny Mt Fuji, and towering, breaking wave, from A Series of Thirty-Six Views of Mount Fuji:


That’s the same process, from perception to memory, that I was thinking of when I wrote DoubleQuoting the French Revolution, and quoted Robert Frost:

The artist must value himself as he snatches a thing from some previous order in time and space into a new order with not so much as a ligature clinging to it of the old place where it was organic.


Come to which, and moving by the same process from what’s in front of me to what I remember, here’s a DQ of Hokusai (~1760-1849) — before me now as I write this — and an image deriving from the work of Benoit Mandelbrot (1924-2010) on fractals” — which looking at the Hokusai quickly reminds me of:

SPEC DQ Hokusai fractal


And as I look at that DoubleQuote, here at the time of writing this post, it reminds me strongly of my earlier DoubleQuote of Van Gogh and Von Kármán:

In each of these two cases, art precedes science.


In each case, too, the associative process is the same, with some item perceived in the present calling up a past memory that is related to it — in a manner that can generally be articulated and annotated.

Such is the mechanism of a typical “move” in a DoubleQuote or HipBone game.

On the felicities of graph-based game-board design: five

Tuesday, October 20th, 2015

[ by Charles Cameron — Hofstadter Langdon Kim — for Gabi Nasemann, & in recognition of Gödel Escher Bach ]

My friend the photographer Gabi Nasemann recently inquired whether I knew John Langdon‘s book, Wordplay, and I responded, DoubleQuote-style, with Scott Kim‘s Inversions:

SPEC kim langdon

I had the pleasure of meeting Scott Kim lo these many years past at the Computer Game Developers Conference, and he was kind enough to say of my HipBone Games:

Your game does seem to really call to mind the Bead Game. Almost a divination system, much more metaphorical than most games.


Scott Kim and his friend Doug Hofstadter both have a keen interest in Bach, so I thought it might be neat to see Scott’s treatment of the name — an ambigram, lower panel below — and how John Langdon might treat it — upper panel:

SPEC bach

Langdon’s Bach I assembled from his own typeface, Biform, which apparently seeped from his grasp into the wider world under the entirely irrelevant name Lampoon.


Of all Langdon’s ambigrams, the one that’s no doubt best known — since Dan Brown used it in one of his execrable books — is his square of the four elements, upper panel, below:

SPEC langdon oronce

It was a nice touch, though, that Brown offered Langdon an hommage by naming his professor of symbiology after him. No doubt the fictional Robert Langdon would be familiar with the glorious diagram of the elements created by Oronce Fine, which he’d have run across in a 1549 Harvard Houghton Library volume, Le Sphere du Monde, and which I have elsewhere compared with Jewish and Christian diagrams:

Sembl and HipBone gameboards are in the same genre.. being games of linkage that you play with your mind:

games you play in your mind


Sources and further readings:

  • John Langdon, Ambigrams
  • Scott Kim, Ambigrams on Google Search

  • Scientific American, Remembering Martin Gardner, with Douglas Hofstadter
  • Slate, Can You Really Be a Professor of Symbology?
  • The New Yorker, Harvard_ No Symbology Here
  • Wikipedia, Robert Langdon
  • Random House, The Official Website of Harvard Symbologist Robert Langdon

  • John Langdon, Biform
  • John Langdon, Lampoon

  • Triple Canopy, This is your brain on paper
  • On the felicities of graph-based game-board design: four

    Tuesday, September 8th, 2015

    [ by Charles Cameron — cross-posted from Sembl — following parts 1, 2 and 3 with a fourth ]

    Back in my student days, I used to have a three dimensional tic-tac-toe board, 4 x 4 x 4, made of plexiglas sheets with holes drilled in them, and using colored golf-tees for markers. I could play pretty well on that board, but these ones would drive me nuts — whether for tic-tac-toe or for HipBone / Sembl.

    with a chaser:

    And that’s what I call a DoubleTweet.

    Zen in the Art of Future Warfare

    Wednesday, July 15th, 2015

    [ by Charles Cameron — a highly interesting discussion, discussed ]

    How to Write and Fight World War III:

    This is the video of a terrific discussion of the future of warfare — peacemaking, too, if you see them as two sides of a coin — from the Art of Future Warfare project, to which I have contributed [two stories, 1, 2, a video appearance, 3, and even a DoubleQuotes reference 4]


    I want to select certain phrases from the discussion above, and comment on them.

    It’s a work of fiction, not prediction.

    The thing is, a work isn’t just what its creators intend it to be, it can also be whatever its readers make of it. It’s my impression that the Hebrew prophets were not predicting so much as warning — that’s a distinction Wallace Black Elk made a point of mentioning when he was waxing prophetic — but todays “prophecy teachers” all too often read prophecy as a statement of future fact rather than as a warning of a dangerous path to be avoided.

    So we’re dealing with this incredibly complex world – how do we grapple with it? How do we think about these problems?

    There’s a class of answers to this question, ranging from complex mathematical models, sims and games to stocks and flows diagrams to Dialogue Mapping and my own HipBone Games. Most if not all of the items in this class are graph-based (node and link) networks.

    My own vector is away from high tech and “big” data, towards “rich” data and human-sized graphs — ie graphs with few enough nodes that the human mind can fairly easily envision them, and nodes and links rich enough in anecdotal, visual, statistical, aphoristic, quotatiuonal and other forms of data to elicit full-spectrum human responses, emotional, cultural, mental, heart and mind in conjunction.

    we hunger for creativity and intellectual agility in our national security leaders, and our military leaders

    The usual routes to leadership significantly fail to provide such agility, although occasional good apples to manage to survive among the rotten throng.. That’s why it takes so long to go from John Boyd being a voice in the wilderness to his being lauded by SecDef.

    how do we actually cultivate that kind of thinking, that creative, lateral thinking?

    Again, my own practice draws explicitly on Arthur Koestler‘s insight that it is at the intersection of “planes of thought” — silos, anyone? — that creative insights arise.

    My games accordingly, simply and elegantly make all moves consist, at some level, of such intersections. The HipBone move is a conceptual leap, regular practice of HipBone Games is the most focused way to train the mind in creative leaping, on or off the gameboard, in play or in life.

    fiction, literature and the arts are a critical and often overlooked vehicle for exactly that

    I fully agree, and indeed it turns out that the style of “creative leaping” I am talking about is richly found within the complex weavings of the arts — and indeed, my games were directly inspired by a Nobel-winning novel by Hermann Hesse.

    I lack the competence to build a web-playable version myself, but a museum-oriented adaptation of my game ideas by Cath Styles can be played on iPads in the Australian National Museum, and its web implementation, also focused on visual artefacts rather than concepts, can serve as a proof of concept for the wider uses I envision — intelligence analysis included.

    Paul Callaghan, a writer, game developer, and university lecturer who has played Cath’s Sembl game commented:

    Sembl incredibly succesfully mixes competitive and collaborative play, creativity and expression, and exploration and inspiration. It’s the sort of game you think about when you’re not playing it, and it’s the sort of game that helps you see the world in new ways.

    That’s very precisely what any HipBone derived game aims to do, and if we want creative leadership, getting the HipBone Games up and running online and using them in analytic and decision-making training would be a pretty useful step to take.

    it was basically this Army / Marine Corps answer to a zen koan, right


    a theological and religious scholar

    It may seem strange to find zen buddhism, theology, and religious scholarship mentioned in a discussion on the future of warfare, but they’re areas of the human conceptual spectrum with a great deal to teach us about insight. And fwiw, I read Theology at Oxford, and have recently been “sitting zen” with koans after a brief but brilliant afternoon with the zen roshi John Tarrant.

    Playing a HipBone move and “solving” (resolving, dissolving?) a zen koan have a great deal in common. Haiku, likkewise.

    But that’s enough for one post.


    Here are the selections I’ve been responding too, at greater length:

    Peter W Singer

    We have been very clear. It’s a work of fiction, not prediction. That’s the opening line of it. It is based on real world trends and technologies, but it is not a prediction – but hopefully it can be something that maybe ends up being preventative, by identifying certain issues, trends, even mistakes we are making right now, it helps us to avoid those from happening so that the scenario actually doesn’t come to pass. ..

    Kathleen McInnis:

    We’re grappling with an increasingly complex and interdependent world: globalization, climate change, urbanization, population migration, resource scarcity, all of these are trends that are intersecting with the re-emergence of geopolitics on the one hand, and the erosion of what we’ve known as the sovereign state on the other. So we’re dealing with this incredibly complex world – how do we grapple with it? How do we think about these problems? How do we advance US and global security in a world plagued by wicked problems and unintended consequences?

    As Dan mentioned earlier, we hunger for creativity and intellectual agility in our national security leaders, and our military leaders—but how do we actually cultivate that kind of thinking, that creative, lateral thinking? And crucially, how do we communicate how we are thinking about these problems and what we think we should be doing about them – how do we communicate that to our public in a way that resonates.

    And I submit to you that fiction, literature and the arts are a critical and often overlooked vehicle for exactly that, the creative contemplation of matters of statecraft and national security.

    One of the interesting things about that manual [Field Manual 3-24, Counterinsurgency] was that it actually proposed these intellectual puzzles, these constructs, like, “the more you secure your environment, the less safe you can be” – when you’re operating in a local tactical environment. Instead of having a tactical check-list of, you know, this is what we need to do in these particular operations and this is the logic flow for how you do x, y or z in these environments, it was basically this Army / Marine Corps answer to a zen koan, right – like how does this non-logical, really intuitive way to creatively grapple …

    This is no accident. The point of a zen koan is to inspire a deeper, non-logical level of contemplation. But we haven’t always used koans to access that part of our psyches, and that way of thinking about things.

    Karen Armstrong, who is a theological and religious scholar, who wrote a book that I just love, it’s called A Short History of Myth – she argues that ever since we were cavemen, sitting round camp fires, we have been using stories and myths as ways to communicate truths to each other, ways to communicate meaning. Myths were not an expression of religious beliefs per se, rather they were an imaginative, non-logical way to understand who we are and how we fit in the world. ..

    And then you get to the ancient Greeks, who had two very different, equally important ways of looking at the world, Mythos and Logos.

    WTG, Kathleen!


    Possible koans from the COIN Manual, p 1.27:

  • Sometimes, the More You Protect Your Force, the Less Secure You May Be
  • Sometimes, the More Force Is Used, the Less Effective It Is

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