[ reposted from BrownPundits — by Charles Cameron — few things in life are as delightful as finding kinships of mind and heart ]
Brilliant, IMO — and hopefully of use to Ali Minai, Mike Sellers and others in the field of artificial intelligence — here the Loom is, as JustKnechtpresents it on Medium:
9 categories can be used to classify how forms, meanings and the connections between them change, develop and evolve in relation to each other. Put anything at the top left of this table, then:
re-express the idea of it in a different form (horizontal movement towards the right of the loom, e.g. from Mercury the Roman god to Greek Hermes and Egyptian Thoth), or else
reinterpret that particular form with a different idea (vertical movement towards the bottom of the loom, e.g. from Mercury as god to the metal or planet of exactly the same name), or
vary both the form and the meaning (with ideas and forms both contrasting towards the bottom right of the loom, e.g. follow Mercury into the domain of trees, according to standard tables of correspondence in European culture, to the fast-growing hazel — hazel groves often being associated with gateways to the underworld, and Mercury himself being a guide to the underworld).
JustKnecht‘s Loom would be a powerful tool by which to analyze many uses of my DoubleQuotes format.
My own HipBone Games, like JustKnecht‘s Rattlesnake Games, are inspired by Hermann Hesse‘s Glass Bead Game as described in his novel of that name — and there’s enough kinship between them that Derek Robinson‘s comments on my own games and Ai may be of use, mutatis mutandis, in setting a context for Rattlesnake Games, too:
— incommensurable insights is another topic of considerable interest to me —
— and that in turn brought me to this illustration of two instances of triple thinking about incommensurables from Australia — a triple helix and braiding:
Which brings us in turn to Borromean Rings and Knots:
Now the question to consider with each and all of these illustrations of threeness is whether they trigger any thoughts about the juggling and hopefully braiding and balancing of incommensurable forces in governance.. okay?
You’ll have noted that the braiding illustration from the Australian double illustration above is a representation of a juggling pattern. Wikimedia has dozens of such patterns with various numbers of balls, heights to which they are lobbed, &c, — and they’re fascinatingly eye-catching — mesmerizing, in fact.
Take a look at just three of them:
Selection of animations of 3-ball juggling patterns by one juggler (derived from juggling patterns in Wikipedia)
Wow, and okay:
Now if a pattern of juggling can be represented as a pattern of braiding, we have a comparable situation to Ada Countess of Lovelace‘s brilliant cross-disciplinary leap of insight that the logical patterns Charles Babbage used to program for his proto-computing Analytical Engine could be represented in the punched cards used by Jacquard looms in the production of patterned fabrics:
Noting the correspondence between juggling — a circus-performer’s art — and braiding — not quite knitting, not quite knotting, and don’t those two words fit well together — an art associated with the decoration of hair and ribbons — I wondered whether there might not be a musical analog in counterpoint, and posted my inquiry on Twitter using this diagram of braiding:
I was fortunate: Change-ringing, surely very speedily responded to my inquiry:
The art of change-ringing in British churches and among hand-bell ringers is indeed the classic example of highly constrained and patterned musical counterpoint, so I happily Googled away in search of a change-ringing pattern comparable to my braiding patternc[left side, below], and came across the pattern [right side] in a page on the Cambridge Surprise Minor changes:
Metaphor, analogy, parallelism — these are avenues into the creative process in general, and threeness analogies and metaphors interrupt our usual binary cognitive processing in a way that enhances our capacity to comprehend complexity.
I’m therefore offering this post to Ali Minai and Mike Sellers, in the hope that it will serve as a provocation to their already advanced thinking about systems dynamics. Tony Judge, obviously enough, it’s also a tribute to you…
Previous posts of mine with threeness as a topic include
The human voice is the world’s most astonishing instrument, it’s often said. It’s capable of everything from a trill to a bark to an ear-splitting scream, from growling harmonics to liquid acrobatics, lofted on the breath like a lark on an updraft. Instrument is the wrong word, really. The voice is more like a chamber ensemble: winds and strings and blaring horns, strung together end to end. It’s a pump organ, a viola, an oboe, and the bell of a trumpet, each instrument passing the sound along to the next, adding volume and overtones at every step. Throw in the percussion of the lips and tongue, and the echoing amphitheatre of the skull, and you have a full orchestra playing inside you.
My aim in this post is to add that “full orchestra playing inside you” to that other internal polyphony of contrasting desires, identities, and emergent thoughts, and the external polyphony of all those voices with a stake in our common concerns, risk assessments and deliberations — which are constituent of our complex analytic topics.
The rest is context…
I’ve often talked about the notion that the analysis of complex human systems involves dealing with multiple stakeholder voices, also on occasion with the many internal voices within each individual, and suggested that music offers the clearest equivalent or analogy that humans successfully and repeatedly navigate. Specifically, the twin notions of polyphony — the sounding together of many voices — and more specifically counterpoint — the juxtaposition of conflicting voices and the possible resolution of their conflicts from dissonance to harmony in an iterative process — are clearly relevant to analytic practice, albeit drawing on a tradition that will seem wildly cross-disciplinary to many analysts.
Relevant here is Edward Said‘s definition of counterpoint:
In counterpoint a melody is always in the process of being repeated by one or another voice: the result is horizontal, rather than vertical, music. Any series of notes is thus capable of an infinite set of transformations, as the series (or melody or subject) is taken up first by one voice then by another, the voices always continuing to sound against, as well as with, all the others. Instead of the melody at the top being supported by a thicker harmonic mass beneath (as in largely vertical nineteenth century music), Bach’s contrapuntal music is regularly composed of several equal lines, sinuously interwoven, working themselves out according to stringent rules
In my view , which I have repeatedly expressed, Johann Sebastian Bach, the master of contrapuntal writing, is a significant exemplar for us at this time. And if it should be argued that musical methods cannot be transposed — another musical term — to matters of verbal thought, let me say that the great Bach pianist Glenn Gould towards the end of his life made specifically contrapuntal human voice radio plays for the Canadian Broadcasting Company..
the way he liked to have one AM and one FM station playing all the time in his apartment, one for news, the other for music; the way he could learn a score while talking on the phone; and the way he enjoyed eavesdropping on three or four conversations at the same time going on at neighbouring tables in the restaurants he haunted (Kostelanetz 1983: 127).
We can see here that Gould‘s basic thinking is in terms of multiple voices, often contrasting, in simultaneous awareness — Gould, Howes continues, spoke of counterpoint as “an explosion of simultaneous ideas”. As Gould puts it, Howes reports, when speaking of his radio programs for human voices:
The basis of it was that we tried to have situations arise cogently from within the framework of the program in which the two or three voices … [recorded previously in conversation with Gould, but with the latter’s voice edited out for the final version] … could be overlapped, in which they would be heard talking – simultaneously, but from different points of view – about the same subject. We also tried to treat these voices as though they belonged to characters in a play, though all the material was gained from interviews. It was documentary material, treated in a sense as drama (cited in Payzant 1982: 131).
This, then, is Gould‘s contrapuntal radio, and we can see Gould vividly transposing conytrapuntal imagination from the musical sphere to that of the varieties of human verbalization.
As not an aside but the re-introduction of a theme previously only hinted at, here is Arthur Koestler on the conceptual or creative leap:
A musical understanding of North requires re-thinking some traditional elements of music theory: harmony must take into consideration semantic content and shifting topic areas; form follows somewhat traditional musical structures (ternary, binary, etc.); and texture encompasses layering of literal voices and dispenses with traditional notions of melody. One must also consider the spatial component of tape composition, in which voices inhabit locations in a sound field. The later documentaries in the trilogy and the Leopold Stokowski and Pablo Casals tribute radio documentaries contribute to a more complete musical concept of contrapuntal radio — complex polyphonic textures, stereo sound, pitch-based harmonic content — the germ of contrapuntal radio was developed and actualized in North.
I’d like to take that lead, given us by the masterful pianist Glenn Gould, across into the field of analytic understanding — as a stream of analysis complementary and in counterpoint (for instance) to “big data” analytic tools — contrapuntal analysis characteristically working with a few, humanly-selected verbal utterances rather than data-points algorithmically-selected in the millions.
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.
We see here the invocation of Bach in a context of geopolitical analysis — one paragraph in the life-work of Said, who was a music critic as well as a well-known Palestinian-American public intellectual.
That single paragraph — and Gould‘s clear understanding that contrapuntal thinking can be applied to the polyphony of human voices, not just in the musical sphere — prompts me to go further, and assert that complexity studies with application to the human condition and intelligence and geopolitical analysis will all, sooner or later, arrive at the practice of contrapuntal thinking as basic to their deeper purposes.
Refocusing at the national level, on Glenn Gould‘s native Canada:
I’ve mentioned the simultaneity of voices in social contexts such as listening, hearing and understanding the views and voices of multiple stakeholder. In similar vein, Howes suggests Gould‘s own taste for counterpoint stems from and reflects the Canadian Constitution:
Gould understood music to provide a model of society, and the performing artist, hence, to be performing society, as well as music. Along these lines, counterpoint, Gould’s preferred musical style, provides a specially apt model for comprehending the constitutional structure of the Canadian state. Gould’s interest in keeping the different voices of a fugue distinct, equal, and bound together parallels the concern of the Canadian state to keep the different parties to Confederation distinct, equal and bound together. In this difficult task, however, there is always a risk of overemphasizing or losing one of the voices. If Quebec is proclaimed “a distinct society” will that disturb the equality of the provinces (for surely all are distinct); if it is not, will that lead to the separation of Quebec and the break-up of Confederation? This bi-cultural counterpoint confronts Canadians daily, from the bilingual product information on their cereal boxes to the reports of English/French political jousting on the evening news.
Counterpoint, or in more general terms, polyphony, is non-dialectical, for it involves the interweaving of voices, of ideas, rather than the Hegelian process of thesis-antithesis-synthesis. Polyphony as social theory does not, therefore, entail the negation of any countervailing views the way, say, a dialectical social philosophy would. With polyphony, accommodation or peaceful co-presence takes the place of negation.
[ by Charles Cameron — I suspect Mike Sellers & Ali Minai might find them of interest as subtle narrative avenues into complexity ]
I’ve been watching Black Earth Rising , British writer-director Hugo Blick‘s latest series, starring Michaela Coel:
As with his earlier series, The Honourable Woman featuring Maggie Gyllenhaal, I’m transfixed. Here is complexity delivered — in both cases, brilliantly — on TV:
Once Blick puts down his first card, as a viewer you think, “Oh, that’s good. That will be interesting.” Then he essentially flips the other 51 into the air and lets them fall all over the script. That’s the ambitious beauty of The Honorable Woman, which explodes across each episode with elaborate twists involving the Israelis, the Palestinians, the British and the Americans.
I think of novels and plays as offering approaches to an intuitive grasp of complex situations
I think polyphony and counterpoint are what we meet with in the social world, and indeed in our conflicted minds and hearts, and that Bach will prove to be the great master of our age, once we’ve matured enough to learn from him. But listening must come first, and that seems a skill that’s wildly at variance with our times..
Novels and plays give us, I think, something of an implicit systemic view, in that we understand how a greater whole (a love story, a tragedy, etc.) emerges from the mutual interactions between actors. Same with counterpoint and polyphony — the notes mutually interact at the same time, and set up call-and-response interaction within our minds across time, to create a larger experienced whole from the entire musical piece.
I’m trying to make those relationships more explicit and more generalized, seeing the commonalities in books, music, biology, and games
so — for both Mike and Ali — I’d recommend these two Hugo Blick series as contemporary works of Shakespearean subtlety, to consider as avenues into coomplexity. And although I lack the linguistic skills to appreciate him I’m sure Ali would like to add the Urdu poet Ghalib to the list..
So that’s my interest.
Complexity, what is it? Which avenue takes us deepest into the heart of the matter?
“Combat charities”—entities that seek to provide non-profit military and political assistance to weaker armed groups or minorities resisting the military onslaught of others (like ISIS)—are one mechanism for foreign anti-ISIS volunteers to join the fight. “Combat charities” are a new rising phenomenon of the 21st century battlefield and political dispensation. They can significantly affect both local orders and international politics. [ … ]
Thousands of Western foreign fighters have traveled to the Middle East in recent years to join the fighting that has engulfed the region. They have overwhelmingly participated on the side of jihadi organizations like the Islamic State (ISIS) or the Jabhat Fateh al-Sham (formerly the Nusra Front).
However, a smaller and often unnoticed segment of these volunteers has embedded with groups that resist the jihadis, such as Kurdish, Assyrian, and Yazidi militias. These fighters vary in their motivations for joining the fight: Some are driven by moral outrage and seek to prevent the atrocities minority groups have suffered at the hands of the jihadis, while others are motivated by co-religionist solidarity. Some seek a sense of adventure and the adrenaline highs of military tourism, while others wish to escape problems at home, finding in the fight a form of self-medicating for post-traumatic stress disorder and other problems. [ … ]
THE WESTERN PATHBREAKERS
SOLI is the oldest and most established combat charity in the world. Founded and led by American citizen Matthew VanDyke, it operates in Iraq, and is building abilities to operate in Syria and North Africa. Since its creation in 2014, SOLI has helped form, train, and to certain extent equip the two largest Assyrian militias in northern Iraq fighting against ISIS. [ … ]
…AND THEIR JIHADI TWIN
Founded in May 2016, Malhama Tactical is the first sunni jihadi private military company. As Rao Komar, Christian Borys, and Eric Woods reported in Foreign Policy magazine in February, during its short existence Malhama Tactical has provided training and battlefield consulting for Jabhat Fateh al-Sham (formerly known as the Nusra Front, affiliated with al-Qaida) and the Turkistan Islamic Party, an Uighur extremist group from China’s restive Xinjiang province.
Get that? Rival combat charities to throw a heavy dose of ambiguity into the already three-cornered Syrian situation..
IMO, these combat charities on both sides of an already fraught situation might make excellent fodder for Hugo Blick‘s subtle story-telling mind..
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