[ by Charles Cameron — sincerity and symmetry as the basis for dialog and negotiation ]
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If you read me regularly, you know I’m passionate about form as well as content.
Here’s the New York Times report on the interactions between Presidents Obama and Morsi in the runup to the Gaza ceasefire negotiations:
Mr. Obama told aides he was impressed with the Egyptian leader’s pragmatic confidence. He sensed an engineer’s precision with surprisingly little ideology. Most important, Mr. Obama told aides that he considered Mr. Morsi a straight shooter who delivered on what he promised and did not promise what he could not deliver.
“The thing that appealed to the president was how practical the conversations were — here’s the state of play, here are the issues we’re concerned about,” said a senior administration official who spoke on the condition of anonymity to discuss private conversations. “This was somebody focused on solving problems.”
The Egyptian side was also positive about the collaboration. Essam el-Haddad, the foreign policy adviser to the Egyptian president, described a singular partnership developing between Mr. Morsi, who is the most important international ally for Hamas, and Mr. Obama, who plays essentially the same role for Israel.
“Yes, they were carrying the point of view of the Israeli side but they were understanding also the other side, the Palestinian side,” Mr. Haddad said in Cairo as the cease-fire was being finalized on Wednesday. “We felt there was a high level of sincerity in trying to find a solution. The sincerity and understanding was very helpful.”
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And here, by way of context, is David Bohm on dialogue:
One way of helping to free these serious blocks in communication would be to carry out discussions in a spirit of free dialogue. Key features of such a dialogue is for each person to be able to hold several points of view, in a sort of active suspension, while treating the ideas of others with something of the care and attention that are given to his or her own. Each participant is not called on to accept or reject particular points of view; rather he or she should attempt to come to understanding of what they mean.
Bohm, Science, Order and Creativity, p 86
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What interests me here in the Obama-Morsi interaction as described is the dual emphasis on sincerity and symmetry. Sincerity is needed so that each of the two sides — Israel’s POV, as presented by Obama, and that of Hamas, as presented by Morsi — is in fact presented, and not hinted at, watered down or reneged on. And when both sides are in fact sincerely represented, they are mutually present — heard — and there is symmetry.
That symmetry, it seems to me — symmetry of form in the presentations of contents — is the facilitator of successful negotiations.
[ by Charles Cameron — here’s a musical experiment from the book / project i seem to be writing, which offers a grand slam intro to contemplative and artistic approaches to creative thinking, and hence a fresh angle on intelligence ]
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It looks very much as though I’ve been beginning to write parts of let’s call it “a book” for a while here on Zenpundit. I laid out the overall topic and approach as I see it in my previous post, but here I would like to launch into it mid-stream, with a musical experiment to explore the mind’s capabilities. I’ll explain why, later.
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Okay, here’s the experiment.
I invite you to listen to a short piece by JS Bach on YouTube. This will take roughly three and a half minutes of your time, the piece of music itself is one of the glories of the classical tradition, I’ve chosen the video because of the terrific graphics that accompany and illuminate the music, there will be some rock and ragtime to follow for those whose tastes go those ways — and I must ask you to pay very special attention while watching and listening to the video.
Before you do that, however, I’d like you to take a look at the image at the top of this post, which shows you the ending of the piece both as the video graphics present it, and in the musical notation or “score” an organist would read. The graphics are terrific because they allow the untrained eye to follow the threads of the different melodies or “voices” as Bach braids them together. The work is his “Little Fugue” in G minor, which you can find indexed in his collected works as “BWV 578”.
Here’s how I’d like you to pay attention during the piece:
As you listen to the performance on video, I’d like you to follow the colored lines of the melodies as they move along in the video graphic, and listen carefully to hear how many of the lines of sound you can actually follow distinctly in your mind. At the beginning there’s only one “voice” – only one line of melody – so your task is easy. If you are used to listening to music of one sort or another, you’ll almost certainly be able to track, more or less, some kind of thumping bass line and some kind of melody rising above it – two voices.
Can you manage three? four or more?
If you’re a musician you may still find the graphics — and the exercise – illuminating, but you might prefer to make the same experiment with a version of the piece played by Robert Köbler on a Silbemann organ, accompanied on video by the score..
Here’s the video — see how many voices you can hear and track:
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How did you do? How many voices could you follow at one time?
And why am I bothering to as you to do this, and then talking so much about it? After all, you may already know everything I’m saying and more, or you may simply not care that much about such things.
Here’s why: the project is about creativity and intelligence.
It’s about how to apply forms of creativity that are generally found in the arts and humanities — and in the world’s contemplative traditions — to the questions that arise for every bright human as we face the exhilarating challenging and terrifyingly complex world around us.
It’s about understanding complexity, in the way the Intelligence Community needs to understand complexity, and business leadership, and our scientists and technicians, and the congregants at our synagogues, churches, mosques and temples, and, well, all the bright people everywhere — disillusioned, or fresh and rarin’ to go.
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Complex problems often require some sort of recognition and resolution of several or many distinct and sometimes conflicting voices, points of view, concerns or vectors.. which may shift in intensity and direction as the situation evolves.
In musical terminology, any music that includes two or more distinct melodic lines or “voices” playing together simultaneously is polyphonic — from the Greek for “many voices”. Counterpoint — from the Latin for a point that counters another point — is the artful way in which composers can “work” two or more melodic lines together, so they clash at times, resolve, and harmonize.
The fugue — the particular contrapuntal form Bach uses in the piece you just heard — imposes even tighter constraints on the composer, and can elicit even greater creative inspiration as a result — as many of Bach’s, Mozart‘s, Beethoven‘s and others’ greatest works testify..
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I imagine you can see that the many voices of polyphony — voices in counterpoint, that at times clash and are in need of resolution and harmony — have their equivalents in the complex multi-stakeholder problems, clashing points of view and need for constructive resolutions that creative artists, intelligence analysts, strategy, policy and decision makers, and anyone who wants to keep aware of the shifting currents of our strange and complicated times all need to take into account.
So polyphonic, and specifically contrapuntal, thinking, can be extended way beyond the realm of music — as Hermann Hesse suggested in his greatest novel, Glenn Gould tried to demonstrate in his “contrapuntal radio” pieces, and Edward Said understood when he characterized the Israeli-Palestinian issue in these words:
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.
The “book” may turn out to be a DVD, or a workshop, at this point who knows? Whatever format it winds up it takes, it will teach contrapuntal thinking — using examples drawn from world culture and contemporary geopolitics — as a radical alternative methodology, complementary to but very different from our current analytic methods. It will be a text in the cross-disciplinary, associative, lateral or horizontal equivalent of the kind of disciplinary, siloed, linear or vertical thinking that our increasingly specialized culture has trained us in —
and which we need to supplement, if we are to have the mental flexibility to see and make the creative leaps our times require of us.
God only knows how many voices there are in Bob Dylan‘s song Sad Eyed Lady of the Lowlands, or Eric Clapton‘s Have you ever loved a woman from the 2004 Crossroads Guitar Festival – the principle’s the same, but we don’t (yet) have the graphics to allow your eye to follow what the musicians are doing — and there are solos, and sidemen.
Each musician has at least one voice, its melodies and its silences, to present – and sometimes several, as we saw with the Bach organ piece. And together the individual musicians add up to an ensemble, each with an awareness of the others’ voices and a concentration on their own.
And for an insight into the varieties of organ mastery, compare Billy Preston‘s amazing solo starting at 9’33” on the Clapton piece, Al Kooper‘s organ work on Dylan’s Sad Eyed Lady, and Ton Koopman‘s rendering of the same Little Fugue BWV 578 we started with – where at times you can watch Koopman’s fingers on the keys or feet on the pedals, for yet another way of visualizing the intricate interweavings of this glorious music.
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Glenn Gould had an amazing mind: for your enjoyment, here’s a version of his own fugue, aptly entitled So You Want To Write a Fugue? — with a similar graphical display to help you follow along with the interweaving lines of melody…
It’s serious, and it’s hilarious too! Or maybe you’d prefer Scott Joplin? Either way, enjoy:
Glenn Gould:
Scott Joplin, Euphonic Sounds, a Syncopated Novelty:
[ by Charles Cameron — about the (not yet titled) book (or post-book project) i seem to be writing, which offers a grand slam intro to an array of box-free contemplative and artistic approaches to creative thinking, and hence opens fresh angles on intelligence ]
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One thing I can promise: whatever this project turns out to be, it won’t be predictable.
credit for this incredible image: Roger Dean
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This project won’t take you over familiar territory, congratulating you on holding the same opinions as the author and adding in enough choice details to keep you interested. I’m not aiming to teach you the same thing you already know, only better, more interestingly, more precisely, or in greater detail. I’m aiming to question you, challenge you, and give you a whole new range of optics through which to view the world.
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So, here we go.
I think I am finally at the point where the book (or whatever it is) I’ve been gathering inside me all these years is ready to be written. Some of it has already emerged in earlier posts here on Zenpundit — you don’t known and couldn’t count how many thanks, Mark — and this is certainly where I’ve been developing the style of integrated visuals and verbals that gives the project its flavor — so I’d also like to use my posts here to discuss the thing with you as I go along.
The project is about intelligence in the widest sense, including heart and mind, and with particular focus on creativity. I’m addressing this from two standpoints that mesh together well, and I’m addressing it to two audiences that I believe also mesh together well.
The standpoints are (i) meditation and (ii) the arts, and the audiences are (i) the “intelligence community” and (ii) bright people in general.
I believe that meditation cultivates a spacious mind-set in which we can hold multiple concerns in mind at the same time – the opposing needs of different people, stakeholders, sections of society, the environment, etc – thus seeing things from multiple angles and in balancing & thus balanced ways. And I think the arts serve as the primary means for expressing these balances with all their nuances and shadings, and that techniques from within the arts such as polyphony, chiaroscuro, formal constraint and pattern can teach us to shape multi-faceted insights like these into rich and complex understandings – complex patterns that respond to complex situations. I’ll go into all this in detail as we move along, with examples.
I also believe that this kind of creatively patterned insight — embodying artistic methodology in the context of complex problems with a “fresh” and open mind – will be of interest beyond the intelligence agencies and policy-makers, to business people, artists, and also — importantly — the bright general public, which I take to be a far larger subset of the population than we commonly think, and always eager for reading that doesn’t talk down to them but appreciates their own intelligence and good will.
For now let me just say that I’m very excited, because this seems (at last) to be a project that ties together my game-work with Sembl, the think-tank side of me which has been monitoring religious violence, jihad and terror and working towards nuance, understanding and peace these last dozen years — and my sense of creativity as a writer and poet.
Ripeness is all: I suspect the time for this venture has arrived.
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Here’s the single page overview I’ve written, with a working title:
Intelligence is Zen: understanding our complex world with koans in mind
Just a few days ago, the Director of National Intelligence, James Clapper, referenced Pirsig‘s book, Zen and the Art of Motorcycle Maintenance, as key to the Intelligence Community’s work in understanding and adapting to the many, varied, intersecting problems we face in the world today. As I noted, Clapper was focused a bit more on the biker wisdom than the Zen to be found in Pirsig’s book, but he does raise a question I’ve been addressing for some years now:
What does the contemplative mind have to offer in terms of understanding a complex world?
To my mind, the creativity which is all the buzz of the business world, aimed at solving what are called “wicked problems” — problems that feature multiple stakeholders with multiple aims and objectives, aims and objectives which themselves shift over time so the problems are “never the same river twice” – requires a major mental and emotional shift. Reverie and meditation free us up to make the shift: the shift itself is poorly understood.
Our present, mostly linear way of thinking favors either/or side-taking, dubious cause-and-effect expectations which fail to take complex feedback loops into account, followed all too often by a rush to judgment. We need a whole new – old, even ancient – way of thinking.
Our problems are complex because they overlap, they ripple through one another. In Buddhist terms, they are “interdependently arising.” Not surprisingly, the way of thinking that is required to gain a deeper insight into “interdependently arising” problems can be found in explicit form in such contemplative traditions as Madhyamika & Zen, Taoism, Sufism, and their Abrahamic contemplative analogs. At the heart of these systems is fresh thinking – thought refreshed by quiet.
Furthermore, the shaping of insights in an open field of thought is something the world’s artistic traditions have long dealt with, and there are schools of insight not just available but recorded in exquisite detail in the world’s traditions of poetry, music, painting, theater, film… in patterns that are found in nature, in culture, and in the very turbulence we now must learn to flow with.
The project therefore takes a meditation-influenced approach to intelligence, both in the sense in which Clapper would use the word, relating to the intelligence analysis which develops and influences our decision-makers’ understanding of what’s needed, and in the more general sense of those capable folk with bright minds, keen insights, sharp instincts, warm hearts.
I’ll propose a series of ways of looking differently – with application for anyone, whether artist, intel analyst, businessman, policy-maker, or lover – that cut to the essence of creativity: lateral, analogical, holistic thinking, witnessing pattern beneath the surface of things. My examples will be mainly drawn from terrorism, which I have been monitoring for a dozen years: my style is that of a poet and an eccentric Englishman.
My subtext, my subliminal message, will be contemplation and artistry as profound common sense.
Friend of this blog, and friend, Terry Barnhart’s new book is available on Amazon. Terry is one of the leading thinkers among those who admire John Boyd’s work.
Terry has spoken at the last three Boyd and Beyond events, and much of the substance of those talks are reflected in this book. I’ve read most of it, and believe it will have wide applicability outside the “lean” community. His sections on the use of A3’s (the subject of his talks at B&B this year) for problem identification/solution and rapid learning have potential at the personal and the organizational level. At the core, Terry is advocating a culture of innovation and providing tools he has proven in practice.
[ by Charles Cameron — a post in my importance of form in intelligence series — Afghanistan, the complexity — also a Blackfoot Tale from Grinnell ]
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Funnel image credit: Oxsite
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One of my favorite tales of all time is the Blackfoot legend of The Bull Band, which begins thus in Grinnell‘s telling:
The people had built a great pis’kun, very high and strong, so that no buffalo could escape; but somehow the buffalo would not jump over the cliff. When driven toward it, they would run nearly to the edge, and then, swerving to the right or left, they would go down the sloping hills and cross the valley in safety. So the people were hungry, and began to starve.
Somehow I’d come by a sense that the pis’kun was a sort of funnel – perhaps from Joseph Campbell, whom I once heard tell this tale in his own words – and today I looked around my foolscap-sized screen and discovered that John Canfield Ewers reports what he calls a “buffalo fall” pretty much how I’d imagined the thing, in his Indian Life on the Upper Missouri:
The Piegan band called Never Laughs was camped on the Teton River a few miles north of the present town of Choteau. Their chief announced, “Now we are going to make a buffalo fall.” They built a corral below the cliff and piled rocks in a great V-shape on the slope above the fall. Then they chose a man to lead the buffalo to the fall. But each time he lured them in between the lines of rocks they broke away before they reached the cliff edge. After this had happened three times, young Many Tail Feathers became angry…
So that’s the shape I’m thinking of here: “a great V shape” – let’s call it a funnel.
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I want to use the funnel to illustrate a movement in time, an imperative in intelligence, and a loss in nuance.
First, some background.
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We are in a tricky situation here, because our minds would like to grasp a problematic reality (which resembles a landscape) by means of a thought (which resembles a road sign).
What’s up in Afghanistan?
Drought, and a huge humanitarian catastrophe, say those whose eyes are focused on human beings as fellow creatures in need of food, water and shelter. Preparations for getting the oil in Khazakstan to market, say those who focus on geology, resources, economics. The start of a strategic corridor that also includes Tibet and Kashmir, contested by India and Pakistan, the nuclear locals, and Russia and China, the nuclear regionals, in a four-sided tug of war. Islam itself, the religion of God, or a perverse and puritanical variant thereof. Or one man, Osama bin Laden.
Clearly a complex landscape – and we would like, depending which road sign we follow, to bomb the shit out of them, bring in truckloads of food and medicines, establish a stable government with which to ink a pipeline deal, export their Wahabi brand of Islam to the world — or discreetly support the US in its mission to extirpate the terrorists of Al-Qaida without rousing the more fundamentalist and simplistic of our citizens to topple the government and institute a radical Islamist state.
So much depends on whether we are in Peshawar or the Pentagon, in poverty or power. So much depends on our perspective, and the parallax it brings with it.
Because no matter what point of view we choose to consider the landscape from, some parts of the terrain will seem so close together as to be indistinguishable which we can understand to be worlds apart if we can only view them from another angle, in a different perspective.
I am not arguing for moral relativism. I am arguing for a recognition of complexity, and for an admission that sound bites and white papers cannot handle this style of problem. I have painted a highly impressionistic portrait of the complexities at work here, where China touches the tip of the eastwards panhandle of Afghanistan, where Kandahar can stand proxy for Jerusalem, where the national sport is a sort of polo with a goat’s head for a ball, and the tea served in thin, curved glasses is green and sweet.
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I have checked Google and Dogpile, and as far as I can tell from poor memory, my sense of my own style, and the absence of the same text in the search engines, the above is my own work — the text of the bulk of which I found somewhat haphazardly on my hard drive while working on Part 2 of this post. If anyone else claims copyright, count me an admirer and let me know. I believe it’s “mine” for whatever that concept may be worth, I’m skeptical about solo creativity in any case, myself.
In part 2 of this post, which is definitely almost all borrowed from bright other beings, I’ll try to illustrate the funnel as it applies to America, Afghanistan, Obama and Osama, in a series of “zeroing in” quotes illustrating the complexity of the situation and analysis as contrasted with the “yes” of a kill-decision…
Zenpundit is a blog dedicated to exploring the intersections of foreign policy, history, military theory, national security,strategic thinking, futurism, cognition and a number of other esoteric pursuits.
