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A work colleague, of great height and formidible baldness, pointed me to a new, dynamic slideware app called Prezi.

While Prezi is interesting in itself for those of you condemned to give briefings and presentations, I was intrigued by one of their showcase demos on metaphors. A first rate, concise, presentation on metaphorical thinking  by Adam Somlai-Fischer; a strong cognitive bent, but very reachable for a general audience.

By the way, you should watch this presentation on “Autoplay” while listening to this:

Mixing Mind and Metaphor on Prezi

John Seely Brown, who is the co-author of The Power of Pull: How Small Moves, Smartly Made, Can Set Big Things in Motion along with blogfriend John Hagel and Lang Davison, is primarily speaking about education and learning in an ecological paradigm.

Note to self: I need to read this book.

That said, “pull” is the fulcrum for all 20th century orgs that hope to adapt to the 21st, not just public education. Hierarchies, including states, can no longer completely dominate, only aspire to generally arbitrate, or concentrate their powers in an asymmetric fashion. To do this, over the long term, requires putting  attracting the allegiance of clients and allies capable of taking independent initiative in harmony with the org’s vision rather than relying primarily upon coercion to force people to mechanistically follow orders.

Not sure that too many people in our hallowed institutions “get it”.

Charles Cameron is the regular guest-blogger at Zenpundit, and has also posted at Small Wars Journal, All Things Counterterrorism, for the Chicago Boyz Afghanistan 2050 roundtable and elsewhere.  Charles read Theology at Christ Church, Oxford, under AE Harvey, and was at one time a Principal Researcher with Boston University’s Center for Millennial Studies and the Senior Analyst with the Arlington Institute:

A Hipbone Approach to Analysis III.

by Charles Cameron

I’ve been slowly prepping this series of pieces about my analytic approach — and the mysterious business of “connecting the dots” — for a while, but.. Jeff Jonas, whose work I only recently ran across, has given me “another piece of the puzzle” and a slew of new dots to connect, so here’s a quick impression of some new (for me) terrain that connects with other areas I have long been familiar with.

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What it comes down to in my post today is this: I would like to reconcile “connecting the dots” with “putting together the pieces of the puzzle”.

Both metaphors have to do with “seeing the big picture”, and one of them (“connecting the dots”) has to do directly with nodes and edges, i.e. with those systems we call graphs and networks, while the other suggests a far subtler set of connections.

Consider this: n+1 is the next dot in the series of integers after n, with “+1” being the only link necessary — you can represent that on a graph with two nodes and an edge. But if you had the sky of the northern hemisphere in one hand (hey, this is a thought experiment) and five square miles of landscape around Winchester Cathedral in the other, finding just where to fit the cathedral (and the surrounding, branching, leafy trees nearby) snugly into the sky would be a far trickier business, and the links between air and leaf and stone molecules would be very many — we should be grateful for the ease with which the sky accommodates itself in reality to the cathedral and the trees (and the cathedral and the trees to the sky) — and for the ease with which a painter like Turner can capture the effect…

Two puzzle pieces, I mean, may have to fit along many aspects of their intersection, while dots can be connected by a single common thread.

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I’ve only recently “met” the mind of Jeff Jonas, but he has some remarkable things to say about puzzles — for one thing, he writes about the levels of, well, computation involved in solving a jigsaw puzzle:

The first piece you take out of the box and place on the work surface requires very little computational effort. The second and third pieces require almost equally insignificant mental effort. Then as the number of pieces on the table grows the effort to determine where the next piece goes increases as well. But there is a tipping point where the effort to determine where to place the next piece gets easier and easier … despite the fact the number of puzzle pieces on the table continues to grow.

That in itself is a fascinating thought to dwell on, in fact it’s the sort of piece of the puzzle that gives me an epiphany — Jonas talks about puzzle pieces that provoke epiphanies, too:

Some pieces produce remarkable epiphanies. You grab the next piece, which appears to be just some chunk of grass – obviously no big deal. But wait … you discover this innocuous piece connects the windmill scene to the alligator scene! This innocent little new piece turned out to be the glue.

I’m processing this as a theologian / philosopher / poet, and Jonas has just given me a new angle on the theme of the intersection of frames of reference that Arthur Koestler in The Act of Creation takes to be the fundamental element in insights ranging all the way from casual jokes about rabbis to — let me give you a more powerful example — the Taniyama-Shimura Conjecture which, if I’ve understood the layman’s version correctly, began as a hunch that the otherwise entirely distinct mathematical zones known as “elliptic curves” and “modular forms” could be mapped onto each other – and wound up once proven, successfully bridging algebra with analysis.

Now, I am no no no no mathematician — but I am a student of conceptual bridges, so if I’ve phrased myself poorly here, please bear with me. The point is to think freshly about how one idea connects with another.

Koestler’s insight at the intersection between two fields (for this is essentially a matter of multiple-frame, and thus cross-disciplinary, thinking) is, I’d suggest, Jonas’ epiphanic piece of the puzzle.

Awesome.

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But as we are trying to figure out the puzzle pieces — and this applies to “what is the meaning of life?” as much as to “what threat should be uppermost in our concern?” — Jonas has more to throw at us:

There may be more than one puzzle in the box, some puzzles having nothing to do with others. There may be duplicate pieces, pieces that disagree with each other, and missing pieces. Some pieces may have been shredded and are now unusable. Other pieces are mislabeled and/or are exceptionally well crafted lies.

I would like to add that puzzles may not be the only thing in the (universal) box. There’s a quote that originates somewhere in Heidegger, to the effect that “A puzzle is the unknown, to be solved, while a mystery is the unknowable, to be entered into and dwelt within.” As I say, I’ve only just run into Jonas’ thoughts, but I’d like to integrate that piece of the puzzle in with the ideas he’s providing – why not have a go at the mystery too while we’re about it?

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So what happens with ideas? How do they connect?

Hermann Hesse, the Nobel laureate in literature who gave us Siddhartha and Steppenwolf and The Journey to the East, won his Nobel for his most ambitious novel, The Glass Bead Game (Das Glasperlenspiel, also known in English as Magister Ludi). It is an amazing piece of work that inspired at least one other book by another Nobel laureate — Manfred Eigen’s Laws of the Game: How the Principles of Nature Govern Chance — gave John Holland (he of genetic algorithms) the ruling metaphor for his life’s work, was an early and profound influence on Christopher Alexander’s thinking about pattern languages, and in general serves as a catalyst for grand scale creativity among a disparate crowd of very bright minds.

It is about a game — a game on the order of the complete works of JS Bach. And the essence of the game is the juxtaposition of thoughts.

It is about “connecting the dots” and “putting together the pieces of the puzzle” on the grand scale, to create not a single link between ideas, not a small “bigger picture” deploying a half-dozen or so insights, but a vast architecture of ideas that encompasses all “deep” human thought and connects all “beautiful” cognizable patterns. Hesse uses the image of an organist playing an organ to describe the play of ideas that composes his Game, writing:

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.

And in Hesse’s central, musical metaphor, the myriad thoughts that comprise what he terms the “hundred-gated cathedral of Mind” are linked one with another by likeness — by identity, isomorphism, homology, symmetry, parallelism, opposition, analogy, metaphor…

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I’ll have to move us deep into the territory of the arts and humanities here, because Hesse himself was supremely versed in those areas, but in doing so I would remind you that John Holland wrote of his life’s work, “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.”

Here’s Hesse on the analogical / isomorphic nature of the moves that connect ideas — “only connect!” said EM Forster — in his great Game:

Throughout its history the Game was closely allied with music, and usually proceeded according to musical or mathematical rules. One theme, two themes, or three themes were stated, elaborated, varied, and underwent a development quite similar to that of the theme in a Bach fugue or a concerto movement. A Game, for example, might start from a given astronomical configuration, or from the actual theme of a Bach fugue, or from a sentence out of Leibniz or the Upanishads, and from this theme, depending on the intentions and talents of the player, it could either further explore and elaborate the initial motif or else enrich its expressiveness by allusions to kindred concepts. Beginners learned how to establish parallels, by means of the Game’s symbols, between a piece of classical music and the formula for some law of nature. Experts and Masters of the Game freely wove the initial theme into unlimited combinations. For a long time one school of players favored the technique of stating side by side, developing in counterpoint, and finally harmoniously combining two hostile themes or ideas, such as law and freedom, individual and community. In such a Game the goal was to develop both themes or theses with complete equality and impartiality, to evolve out of thesis and antithesis the purest possible synthesis.

It is Bach, it is Hegel, it is the very essence of creativity, it is the associative, metaphoric nature of mind and brain (and I won’t get more than toe-deep in the “deep problem” of consciousness here).

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And it does involve combining the understanding of both puzzle and mystery, to return to that distinction from Heidegger:

I suddenly realized that in the language, or at any rate in the spirit of the Glass Bead Game, everything actually was all-meaningful, that every symbol and combination of symbols led not hither and yon, not to single examples, experiments, and proofs, but into the center, the mystery and innermost heart of the world, into primal knowledge. Every transition from major to minor in a sonata, every transformation of a myth or a religious cult, every classical or artistic formulation was, I realized in that flashing moment, if seen with a truly meditative mind, nothing but a direct route into the interior of the cosmic mystery, where in the alternation between inhaling and exhaling, between heaven and earth, between Yin and Yang, holiness is forever being created.

Hesse is proposing his intuition that the world of ideas is a mandala-form array of symmetries with a “vanishing point” in the center.

Well, I have leapt far from my original topic, Jeff Jonas’ comments on piecing together a puzzle, but I hope the bungee-cord I’ve been depending on has held your attention, and now as always, at the far end of the extension there’s a bouncing-back.

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The human mind “connects the dots” and “pieces together the puzzle” by recognizing likenesses — pattern recognition, if you like.

But just how human analogical thinking functions is not exactly an easy question…

Charles Cameron is the regular guest-blogger at Zenpundit, and has also posted at Small Wars Journal, All Things Counterterrorism, for the Chicago Boyz Afghanistan 2050 roundtable and elsewhere.  Charles read Theology at Christ Church, Oxford, under AE Harvey, and was at one time a Principal Researcher with Boston University’s Center for Millennial Studies and the Senior Analyst with the Arlington Institute:

A Hipbone Approach to Analysis

by Charles Cameron

I think it’s about time I laid out some of the basic thinking behind the style of analysis that I refer to as the “hipbone” approach.

Seen from one angle, it has to do with Sun Tzu’s double-whammy: “know your enemy, know yourself”.

F Scott Fitzgerald wrote, “The test of a first-rate intelligence is the ability to hold two opposing ideas in mind at the same time and still retain the ability to function.” Let me be blunt about this: if you want to “know yourself” and “know your enemy” as Sun Tzu recommends you should, you’ll need to be able to keep two opposing minds in mind at the same time – and still retain the ability to function.

The hipbone approach uses very simple concept-mapping tools and some fairly subtle insights derived from a lifetime of introspection and the arts to facilitate and annotate that process, and to make the resulting understandings available to others.

But first, let’s get down to the kind of thinking that lies behind this approach.

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One thing I want to know is: what are the most subtle and complex mini-structures that the human mind can take in, more or less at one swoop. Then I’d like to know what their moving parts are, how — to the extent that they have a “main thrust” — they handle parallelisms and reconcile oppositions to that thrust, and what they do with stuff that’s oblique or orthogonal to it, how they put constraints to use in service of expression, what use they make of decoration, how they handle ignorance, how they reconcile head and heart, certainty and doubt, and how they keep the surface mind occupied while affecting the deeper layers of our being… And I want to know that, viscerally — to feel it in my bones, if you like – because I’d like to be able to do more or less the same thing with regard to complex real-world problems, on a napkin, by myself, or with friends or enemies.

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I want to know what those things are because (a) they’re the most nourishing things I can feed myself, and I need all the nourishment I can get, and (b) because it turns out that if I can come up with product that has the same formal properties, I’ll be able to explain things both to myself and other people that otherwise leave me stuttering platitudes.

Somewhere right about there, I run into a quotation like this one, from Cornelius Castoriadis in his World in fragments: writings on politics, society, psychoanalysis, and the imagination:

Remember that philosophers almost always start by saying: “I want to see what being is, what reality is. Now, here is a table. What does this table show to me as characteristic of a real being?” No philosopher ever started by saying: “I want to see what being is, what reality is. Now, here is my memory of my dream of last night. What does this show to me as characteristic of a real being?” No philosopher ever starts by saying “Let Mozart’s Requiem be a paradigm of being, let us start from that.” Why could we not start by positing a dream, a poem, a symphony as paradigmatic of the fullness of being and by seeing in the physical world a deficient mode of being, instead of looking at things the other way round, instead of seeing in the imaginary — that is, human — mode of existence, a deficient or secondary mode of being?

What I think I’m hearing here, half-hidden in the words, is that the Mozart Requiem is one of those high-density, subtle and complex mini-structures.

And I agree — in fact I find myself thinking of the arts that way, as the natural places to look for high-density, subtle and complex models of reality.

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Of course, it would be absurdly neat if nobody else had ever noticed this, and I could take all the credit for myself – but no, the great anthropologist and cybernetician Gregory Bateson makes pretty much the same observation about poetry:

One reason why poetry is important for finding out about the world is because in poetry a set of relationships get mapped onto a level of diversity in us that we don’t ordinarily have access to. We bring it out in poetry. We can give to each other in poetry the access to a set of relationships in the other person and in the world that we are not usually conscious of in ourselves. So we need poetry as knowledge about the world and about ourselves, because of this mapping from complexity to complexity.

Poems are precisely “high-density, subtle and complex mini-structures” – that’s how they manage the “mapping from complexity to complexity” – and so the question comes up, what’s the role of structure in the arts?

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Let’s take a quick look at musical structure, and at polyphony and counterpoint in particular. Your enemy’s perspective and your own – or the many perspectives of the various stakeholders in a complex, perhaps “sticky” or “wicked” problem – can be compared with the different, often discordant melodies from which a Bach or Mozart or Beethoven weaves a fugue – melodic themes which are not infrequently “inverted” or in “contrary motion”.

So what can the musical structure of counterpoint teach us, who are faced with real-world situations comprised of different needs and ideals — often discordant, often in counterpoint or opposition to one another, often in “contrary motion”?

Here’s Edward Said, discussing the Israeli-Palestinian problem in terms (gasp!) of musical form:

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.

Like him or leave him, Said in this paragraph is clearly thinking along similar lines to the ones I’m proposing.

Or to move to yet another art, that of theater — what can we learn about the simulation and modeling of complex issues from Shakespeare? Keith Oatley’s Shakespeare’s invention of theatre as simulation that runs on minds is a serious exploration of that possibility.

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I’m going to return to the arts, and lay out a theory of what an art is and how it works, in a later post in this series – but for now, let me just say that I’ve devised a cognitive mapping tool, or more precisely a family of games and mapping tools, that I call “HipBone Games and Analysis” because they’re all about the way one idea connects with another – just as “the hip-bone’s connected to the thigh-bone” in the song.

And as I commented recently on Zenpundit:

What I’m aiming for is a way of presenting the conflicting human feelings and understandings present in a single individual, or regarding a given topic in a small group, in a conceptual map format, with few enough nodes that the human mind can fairly easily see the major parallelisms and disjunctions, as an alternative to the linear format, always driving to its conclusion, that the white paper represents. Not as big as a book, therefore, let alone as vast as an enormous database that requires complex software like Starlight to graphically represent it, and not solely quantitative… but something you could sketch out on a napkin, showing nodes and connections, in a way that would be easily grasped and get some of the human and contextual side of an issue across.

6.

To balance Sun Tzu’s “know your enemy, know yourself” with which I began, I’ll offer by way of counterpoint Christ’s “But I say unto you which hear, Love your enemies, do good to them which hate you” (Luke 6.27). And now for two of my favorite words: more soon…

Interesting. I suggested something like this years ago.

….What the USG desperately needs is a national security equivalent to DARPA that can both engage in deep thinking and have the freedom to run pilot programs to enhance America’s strategic influence that can later be expanded by our traditional power bureaucracies. This would be far more than a just a federally funded think tank – RAND, Brookings, Hoover , Heritage, AEI, CATO, CFR, Carnegie, CSIS and others all do a fine job of policy analysis. They also give statesmen a productive place to hang their hat as an alternative to whoring themselves out as corporate or ideological lobbyists. Another one of those is not what the times require.

What I’m proposing is a lot closer to a cross between a soft-power version of the Institute for Advanced Studies and a clandestine service – one with the objective of developing innovative programs to maximize the influence of American values and promote “Connectivity ” in nations mired in the endemic, isolated, misery of the “Gap”. This is not what the USG normally does. The bias of State and Defense, State in particular, when dealing with foreign policy questions tend to be orientated toward day to day, tactical, crisis management….

Google appears to be trodding down that very path:

Google Grabs State Dept. Star Jared Cohen for Foreign Policy “Think/Do Tank”

Jared Cohen joined Google last week as the director of its newly created Google Ideas “think/do tank”-an entity whose objective is to dream up and try out ideas that address the challenges of counterterrorism, counterradicalism, and nonproliferation, as well as innovations for development and citizen empowerment. He has also landed a side gig as an adjunct fellow at the Council on Foreign Relations, focusing on innovation, technology, and statecraft.

Google has now hired Cohen to set up Google Ideas, which will look for innovative approaches to some of the stickiest international issues of the day. Out of his New York office, Cohen will, he told Foreign Policy, seek to “[build] teams of stakeholders with different resources and perspectives to troubleshoot challenges.” As for why he decided to give this a shot in the private sector, rather than in the public sphere, to which these issues have traditionally belonged, Cohen says there are “things the private sector can do that the U.S. government can’t do.”

The big thing is the resources and the capabilities. There are not a couple hundred [computer] engineers in the State Department that can build things; that’s just not what government does. You don’t necessarily have some of the financial resources to put behind these things. It’s really hard to bring talented young people in; there are not a lot mechanisms to do it. [And] on some topics, it’s very sensitive for government to be the one doing this.

During the Cold War, DARPA was a great success, as government bureaucracies go, partly because secrecy freed it from the normal political and bean counting constraints. The other reason was that DARPA’s focus was primarily upon engineering types of problems. Technically difficult, innovative and exploratory problems to be certain, but generally not the sort of socially constructed or influenced “wicked problems“. Or “intractable ones” ( DARPA delved into technical problems that were, due to the technological level of that earlier era, also intractable, but that is still a different kettle of fish from socioeconomic, perceptually intractable, problems). It would seem that Google Ideas will be tackling the harder set of problems to solve.

Google Ideas is an entity to watch but all the observation will be detrimental to the accomplishment of it’s mission, as the nature of social wicked problems carry with them vested interests determined to defend the dysfunctional status quo from which they derive benefits. In some scenarios, with extreme violence. In others, with political pressure. There’s a reason these problems in the human realm go unsolved – sweet reason and pilot program rational incentives might not appeal to leaders of La Familia or Palestinian Islamic Jihad.

Google might also need a formidible Google PMC.

Hat tip to Larry Dunbar.