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The diplexity of complomacy in the Muddle East

Thursday, February 11th, 2016

[ bu Charles Cameron — paging Jackson Pollock ]
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Liz Sly has the overview:

Karl Sharro provides the specifics:

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For “Muddle East” — hat-tip Ralph Birnbaum.

Karl Sharro’s two modes of “simply” explaining the Middle East

Friday, December 4th, 2015

[ by Charles Cameron — on visual, auditory and kinesthetic learning styles ]
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If you didn’t get it when Sharro posted his visual explanation:

maybe his verbal version will make things simpler:

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Sources & resources:

  • The Atlantic, The Confused Person’s Guide to Middle East Conflict
  • Washington Post, The chaos in the Middle East, explained in one (long) sentence
  • Vox, This one-sentence explanation of ISIS is brilliant
  • Some people are neither verbal nor visual but kinesthetic — I dread to think how Sharro will explain all this simplicity to their nervous systems.

    John Holland, RIP

    Sunday, August 30th, 2015

    [ by Charles Cameron — a Magister has departed ]
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    John Holland

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    I am saddened to hear that John Holland — the “father of genetic algorithms” — is no longer among us. Happily, I understand his passing was peaceful.

    Obits:

  • Santa Fe Institute, Complexity science giant John Holland passes away at 86
  • Boston Globe, John H. Holland, 86; advanced study of complex adaptive systems
  • Washington Post, Goodbye to the genius who changed the way we think
  • New York Times, John Henry Holland, Who Computerized Evolution, Dies at 86
  • **

    I corresponded very briefly with John Holland, because of his interest in the Glass Bead Game — which he discussed in his Omni interview in connection with his own life’s work:

    I’ve been working toward it all my life, this Das Glasperlenspiel. It was a very scholarly game, starting with an abacus, where people set up musical themes, then do variations on it, like a fugue. Then they’d expand it to where it could include other artistic forms, and eventually cultural symbols. It became a very sophisticated game for setting up themes, almost as a poet would, and building variations as a composer. It was a way of symbolizing music and of building broad insights into the world.

    If I could get at all close to producing something like the glass bead game I can’t think of anything that would delight me more.

    See also:

  • Omni, And then there was A-Life
  • Wikipedia, John Henry Holland
  • h/t Mike Sellers

    Variations on the Blue Screen of Death

    Saturday, March 7th, 2015

    [ by Charles Cameron — where would we be without our digital devices, minds & memories? ]
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    Two converging thoughts, the first from John Robb at Global Guerrillas:

    Over the weekend, ISIS threatened the life of Jack Dorsey, a co-founder and Chairman of Twitter. Why? Twitter, at the urging of the US government, has been shutting down the accounts of ISIS supporters for months. So, ISIS supporters responded by making a threat with a nifty graphic:

    IS warns Dorsey the Twitter CEO Robb GG

    We told you from the beginning it’s not your war, but you didn’t get it and kept closing our accounts on Twitter, but we always come back. But when our lions come and take your breath, you will never come back to life

    The CEO as an Objective of War

    Unfortunately for the suits in Silicon Valley, ISIS isn’t as much of a pushover as al Qaeda was. They have mass and
    momentum and they are smart enough to understand the role of the Internet in this struggle. Additionally, they have lots of experience coercing CEOs. They did it quite a bit of it during the war in Iraq (and it worked).

    Regardless, the targeted killing of a well known tech executive in sunny California by ISIS jihadis does appear impossible to imagine. Few places are more remote from each other, and not just geographically. Silicon Valley is a hyperconnected, financially mainlined zone striving for a tech nirvana. ISIS is a disconnected autonomous zone striving to return to the 7th Century. However, that’s probably a bad assumption. Charlie Hebdo showed the world that terrorism is evolving and corporate targeting on global scale is now on the agenda. This means an attack on a tech CEO isn’t just possible, but probable. Worse, once an attack on a senior tech executive happens, future threats will be instantly credible and highly coercive..

    If that occurs, we are going to find out very quickly that the corporation, and particularly tech companies, are particularly bad organizations for warfare. One reason is that they are too centralized. In particular, the institution of the CEO is a grave weakness (a systempunkt in global guerrilla lingo). The CEO’s centrality to the corporate network makes him/her a single point of failure for the entire organization. Another is that executives in most of the western world are very soft targets. Easy to find (Google and Google maps), easy to isolate, and easy to kill…

    **

    And the second from Marc Lindemann, When the Screens Go Dark: Rethinking Our Dependence on Digital Systems, from Small Wars Journal:

    In a threat environment where even the most useful digital system may be knocked out of the fight, there needs to be a back-to-basics approach that will enable units to continue to fight effectively in the absence of their digital systems and digital guidance from higher headquarters. Every commander should be able to shut off the TOC’s power, slipping the digital leash, and have confidence that his or her unit can continue to function. Junior leaders and staff sections should be able to anticipate the problems inherent in digital-system failure and know what to do without a major disruption in TOC operations. ADRP 6-0’s non-digital solutions – “establishing trust, creating shared understanding, or providing a clear intent using mission orders” – are significant. More significant, however, and more measurable is the degree of Soldiers’ basic proficiency in their warfighting tasks.

    Conclusion

    Although this paper does not and cannot advocate the abandonment of the U.S. Army’s existing digital systems, the U.S Army’s dependence on digital systems is very much on its leaders’ minds today. These systems have repeatedly demonstrated the potential to make the U.S. Army a much more efficient and lethal fighting force. Before his retirement, however, GEN Robert W. Cone, then Commanding General, U.S. Army Training and Doctrine Command, gave digital systems an ultimatum: “Why do we want this piece of technology? If it does not dramatically improve training ef?ciency, we need the strength to walk away.” Right now, the military is poised to increase digital training requirements in pursuit of inter-service operations, multinational activities, and the expansion of the network to include all Soldiers and vehicles. Leaders at every level must understand their dependence on digital systems, successfully manage their units’ use of these systems, and promote decentralized initiative in support of clearly defined and mutually understood tactical goals. In the end, Soldiers must have tactical knowledge that transcends anything displayed on a computer monitor. Soldiers, not our digital systems, are what will win our future conflicts. When the screens go dark, the mission must go on.

    Well, the military details are way beyond me, though they presumably make sense to other SWJ and ZP readers — but the idea that the net, or large domains within it, may suddenly go dark (or blue, as the saying goes) is one that should give each one of us, dependent as we are on digital media for our communications and memories, considerable plause.

    **

    It was my friend Peter Rothman — currently editor of H+ Magazine — who wrote the now celebrated digital haiku a few years back:

    Windows NT crashed.
    I am the Blue Screen of Death.
    No one hears your screams

    Leap Worlds: my 3QD attempt

    Wednesday, December 11th, 2013

    [ by Charles Cameron — another runup to the glass bead game ]
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    Below you can read my submission to the wonderful 3 Quarks Daily “web aggregator” site as a candidate to join their regular Monday blogging team — it didn’t even make their “close but no cigar” list, but I wrote it and I like it, so I’m posting it here.
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    They are both fine American authors, stylists of high repute yet little known, Annie Dillard and Haniel Long, but I hadn’t associated the two of them particularly closely until that day. I’d snarfed up a copy of Long’s Letter to Saint Augustine from the dollar box at Pasadena’s magnificent Archives theological bookstore, and on my way home to nearby Eagle Rock, stumbled on a passage that seemed hazily familiar.

    My friend Jens Jensen, who is an ornithologist, tells me that when he was a boy in Denmark he caught a big carp embedded in which, across the spinal vertebrae, were the talons of an osprey. Apparently years before, the fish hawk had dived for its prey, but had misjudged its size. The carp was too heavy for it to lift up out of the water, and so after a struggle the bird of prey was pulled under and drowned. The fish then lived as best it could with the great bird clamped to it, till time disintegrated the carcass, and freed it, all but the bony structure of the talon.

    By the time I arrived back at my books, I knew it was Annie Dillard I’d been reminded of, and a quick, no, excited but fumbling search turned up this passage from her Teaching a Stone to Talk:

    And once, says Ernest Seton Thompson–once, a man shot an eagle out of the sky. He examined the eagle and found the dry skull of a weasel fixed by the jaws to his throat. The supposition is that the eagle had pounced on the weasel and the weasel swiveled and bit as instinct taught him, tooth to neck, and nearly won. I would like to have seen that eagle from the air a few weeks or months before he was shot: was the whole weasel still attached to his feathered throat, a fur pendant? Or did the eagle eat what he could reach, gutting the living weasel with his talons before his breast, bending his beak, cleaning the beautiful airborne bones?

    They’re emblematic, those two quotes, the way I see them: emblematic in the sense that each could be the basis for a heraldic shield, the eagle stooping to carry off the weasel, air creature triumphant over creature of earth in the one, the fish dragging the bird down in the other — creature of water gathering the air creature into its own fatal realm.

    Emblematic too, I see them, of the possibility of a rhyme between thoughts — and I have quoted them as such in previous essays, alongside rhymes of sound and rhymes of meaning, womb and tomb being the classic examples of choice, but also rhymes of image, the fan rotors and helicopter rotors in the opening sequences of Coppola‘s Apocalypse Now, rhymes of melody in counterpoint, in fugue… and rhymes, yes, in history, as when Sir Frederick Stanley Maude told the people of Baghdad in 1917, “Our armies do not come into your cities and lands as conquerors or enemies, but as liberators…” and Donald Rumsfeld chimed in, telling his own troops in that same weary city, almost a century later, “Unlike many armies in the world, you came not to conquer, not to occupy, but to liberate and the Iraqi people know this.”

    Oh yeah?

    **

    The world is woven, Jung tells us in one of his most original and illuminating insights, of woof and warp, causaland acausal principles , it is at once at every point synchronic and diachronic.

    Moving through time, we have the causal, diachronic principle, one things leads to another: let us sort and analyze the actions of one thing on another until psychology becomes sociology, sociology turns into evolutionary biology, biology into genetics, genetics a form of chemistry that is essentially physics — and physics, at the quark-level at last, a matter of statistics, mathematics unfettered even by the dualism of wave and particle.

    Let me be clear about this. I do not begrudge Higgs his boson or his Nobel, nor Chandrasekhar his Nobel or his limit. But both men followed the warp, the causal, time-bound length-wise threads of discovery to their fraying edges. And the causal threading of events, time’s warp in our lived universe, is the mode best suited to quantity, to the determinable, and knows little of mystery unless magnitude alone — the infinities of astronomy, the infinitessimals of subatomics, alone will qualify.

    Oh, scale is a marvel, true enough — but it is quality, not quantity, where the mystery and the greater meaning resides.

    **

    And so we come to the mind’s other faculty, the other manner in which the world is woven, the manner of rhyme and repetition, synchronicities and semblances, of patterns recognized within and across disciplines. The cross-weave.

    This has been the step-child of cognition for too long — but with the rise of cybernetics, feedback loops, complexity theory, network thinking and multi-causality, we can no longer think only in linear progressions, but must also cultivate associative, lateral, sideways thinking — in short, creative leaps.

    Creative leaps occur when we recognize commonalities across conceptual distances — theme and variations, as musicians would say, rhymes in the nature of things, multiple perspectives and voices in counterpoint. So the nature of our current world, in all its complexity and variegation, calls for what I would call a music of ideas.

    I’m not the first to have this idea, Glenn Gould was pursuing it in his work for radio, blending the many voices and conversations in a train compartment, or at the different tables in a truck-stop café, to form an interwoven whole that comprehended all of its voices, all of its parts in a greater music. But it is Edward Said — another musicians, when he was not occupied with Israeli-Palestinian politics or literature — who observed in an essay in Power, Politics and Culture, p. 447:

    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.

    So that’s the symphonic scope of the thing, seeing the whole with all its fractures and dissonances as a music — a music that calls for harmonization, but remains in complex counterpoint.

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    Hermann Hesse was the first great proponent of the music of ideas, at least in modern western times, and his glass bead game — evoked but never defined in his Nobel-winning novel of that name — offers us a glimpse both of the nature of moves and of the possible grandeur of an implicit world-architecture, formed of resonances and semblances, rather than of causes and effects.

    Hesse gives us an insight into how the game is played at the level of moves and themes when he says a given game might have explored “the rhythmic structure of Julius Caesar’s Latin and discovered the most striking congruences with the results of well-known studies of the intervals in Byzantine hymns” — but he could hardly have known, back in the 1940s, that in 1978 the University of Wisconsin Press would publish Jane-Marie Luecke OSB’s monograph, Measuring Old English Rhythm: an Application of the Principles of Gregorian Chant Rhythm to the Meter of Beowulf. Intentionally or unintentionally, his game is played by all whose minds play with meanings. And there’s a game move right there, in the conviviality between the fictional move of Hesse himself, and the monograph, years later, of a Benedictine nun.

    Tiny, you say, a tiny move — but a move in what Hesse termed the “hundred-gated Cathedral of Mind.”

    And the scope of that cathedral, in its gradual entirety, is vast — encompassing all the vast quantities of the sciences, with the qualitative depths and heights of the arts and humanities too:

    The Glass Bead Game is thus a mode of playing with the total contents and values of our culture; it plays with them as, say, in the great age of the arts a painter might have played with the colors on his palette. All the insights, noble thoughts, and works of art that the human race has produced in its creative eras, all that subsequent periods of scholarly study have reduced to concepts and converted into intellectual values the Glass Bead Game player plays like the organist on an organ. And this organ has attained an almost unimaginable perfection; its manuals and pedals range over the entire intellectual cosmos; its stops are almost beyond number. Theoretically this instrument is capable of reproducing in the Game the entire intellectual content of the universe.

    We are drawing close, in a humanly possible way and without making any predications of the being or non-being of such a supposed entity, to the very mind of god.

    **

    And with immediate real world application, as when Maxwell sees the commonality between electricity and magnetism, Kekulé the serpent-biting-it’s-tail like form of the benzene ring — or Taniyama‘s 1955 “surmise” as Barry Mazur puts it, that “every elliptic equation is associated with a modular form” — an insight that was to bear rich fruit forty years later, in Andrew Wiles‘ proof of Fermat’s Last Theorem.

    Hesse’s vision of the game was lucid, elegant, intellectual — but lacked real world application. Viewed as a method of scoring the music of ideas, it offers illuminations from the most abstract and theoretical of mathematics to the most complex of opposed political intrangencies — from Tamiyama to Edward Said, and from Christopher Alexander‘s Pattern Language to John Holland‘s “genetic algorithms“. Alexander and Holland each indicate their debt to Hesse’s fictional game in their own respective works.

    How, then, to notate this game, these moves that leap side-wise, pattern-wise, semblance-wise across boundaries and boxes, limitations and disciplines — for it is these leaps, as Arthur Koestler notes in his The Act of Creation, that give us the surprised aha! of discovery, the unexpected ha! of laughter, the gut-wrenching wail aiiyeee! when tragedy strikes.

    My own inclinations favor play — solo or with a friend — at a coffee house, with pencil and paper napkin, with a small graph for a board, ideas played at its nodes, connections and resonances represented by its edges. I’m thinking of network mapping on a human scale, between seven and a dozen nodes, each one rich in meaning, anecdote, quote, statistic, image, snatch of song…

    But the essence is the single move, the single resemblance. And for this I have a form which I would like to offer you, downloadable, for your own experiments:

    Download the image and fill the two spaces with what you will — whatever you can sketch, whistle, count out or scribble —

    I think you’ll find the greatest reward comes when the two ideas, visuals, verbals, aurals you juxtapose are closely related yet drawn from distantly separated regions of thought.

    At their best, such juxtapositions cross galaxies. My own most cherished example to date compares a night sky by Van Gogh with a von Kármán diagram of turbulent flow…

    **

    And where does this lead us? What becomes of CP Snow‘s famed Two Cultures?

    Two great rows of pillars in Hesse’s hundred-gated cathedral, perhaps — best appreciated when one looks up, and sees the great vaulted roof, the magnificence of the arches between them.

    In future Monday columns here on 3QD, I hope to bring you some further moves in the great game of correspondences, weaving together topics that have caught my attention in the preceding month — now in poetry, now on the morning news.

    The leaps.

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    I’m happy to report that friend Bill Benzon made the 3 Quarks Daily cut and will be blogging there, and that friend Omar Ali is already one of their regulars.


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