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[ by Charles Cameron — some recent game references with seriously playful intent ]
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Marc Lynch had an amusing post about Egypt the other day, in which he talked about Calvinball:

For those who don’t remember Bill Watterson’s game theory masterpiece, Calvinball is a game defined by the absence of rules — or, rather, that the rules are made up as they go along. Calvinball sometimes resembles recognizable games such as football, but is quickly revealed to be something else entirely. The rules change in mid-play, as do the goals (“When I learned you were a spy, I switched goals. This is your goal and mine’s hidden.”), the identities of the players (“I’m actually a badminton player disguised as a double-agent football player!”) and the nature of the competition (“I want you to cross my goal. The points will go to your team, which is really my team!”). The only permanent rule is that the game is never played the same way twice. Is there any better analogy for Egypt’s current state of play?

Let me do a DoubleQuote on that. The philosopher Alasdair MacIntyre wrote a while back:

Not one game is being played, but several, and, if the game metaphor may be stretched further, the problem about real life is that moving one’s knight to QB3 may always be replied to by a lob over the net

GMTA?

In any case, Calvin had it first:

[ by Charles Cameron — more on the graphical mapping of heresy, radicalization, decision points, multiple ideas and complex issues, and some illustrations from railroad land ]

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Here’s a railway track illustration of, say, the difference between true Islam (the straight track) and bida (the introduction of new ideas into the religion, deviation, heresy).

This graphic could equally represent the radicalization process, with the “point switching” occurring when the decision is made to switch from sympathizing to active participation, or from participation in the virtual dimension (say by posting on the forums) to the preparation and execution of acts of violence.

Locating the “switching points” would then be a significant part of a successful de-radicalization program, and I’d suggest that the concept of jihad as a matter of obligation (fard ‘ayn) would be one such.

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What follows is essentially a quick-and-dirty pattern language of train tracks, switching points, marshaling yards, etc — I’ve even included one water-slide — to stir creative insights about linear thinking, multiple voices, multiple lines of thought, elegance and the polyphony of ideas…

I’m posting this because any strategic and / or creative thinking that includes the perspectives and voices of multiple stakeholders will require polyphony, as will any approach to the complex dynamics in play in wicked problems…

And much else besides.

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First, we have linear thinking — and a dilemma:

Then, there’s complication — not the same as complexity, and not nearly so hard to figure out —

— and a wicked problem, where the issues are indeed complex, and the problem itself may shift unexpectedly if, for instance, there’s another bombing run just as you are fixing things up after the last one…

And finally, by way of inspiration, there is always the possibility of elegance —

— and (here’s where I switch to the water-slide) — there’s always the possibility of playfulness…

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Finding ways to think graphically, elegantly and a bit playfully about wicked problems is what I’m after here…
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Addendum

Friend JM Berger aka @intelwire sent me a link to this image:

and commented, “I think it’s more like this, no single point of departure, no single destination, loopbacks, dead ends” — nice one, JM!

[ by Charles Cameron — crowdsourcing and ye olde fine line between genius and insanity revisited ]
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Surowiecki should really have titled his book Extraordinary Popular Intuitions and the Wisdom of Crowds, no?

[  by Charles Cameron – pop irony for Yemen, requiem for Etta James ]

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There’s a lot of doubling up here: for starters, the lyrics each of the two songs have a significant amount of double entendre, and there’s a terrific parallelism between them – as well as some real differences between the two singers and genres…

But that’s just the beginning.  The linkage between these two songs on the level of their lyrics – up down, stay go – has nothing to do with the fact that I was playing them today.

I ran across one of these songs today because I’m fascinated by the ways pop culture can model, influence, and even on occasion drive events in the global seriousphere – and the other simply because I had a vague blog-acquaintance at one time with someone who played with Etta James, and wanted to note her passing with sadness, gratitude, and a few minutes appreciative listening.

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So the Middle East Channel over at Foreign Policy featured a mash of Katy Perry’s Hot n’ Cold along with some quotes from Ali Abdullah Saleh today, in which he too doesn’t seem to know whether he’s coming or going — video below.

I also heard Clay Shirky‘s TED presentation Why SOPA Is a Bad Idea today as it happens, and he was saying that every times new recreational tools came along – analog tools like the photocopier, tape recorder and VCR as well as digital tools and technologies like the internet, file-sharing, laptops and tablets – industrial concerns like the publishing, movie and music industries fought them.  Why?

Because it turned out we’re not really couch potatoes. We don’t really like to only consume. We do like to consume, but every time one of these new tools came along, it turned out we also like to produce and we like to share. And this freaked the media businesses out — it freaked them out every time.

So yeah, someone serious enough about Yemen to mock President Saleh and savvy enough to make a YouTube video of Katy Perry intercut with choice selections from Saleh’s speeches – that’s just what Shirky’s talking about, it’s human nature, it’s creative…

And sometimes stuff like that can go viral – so it’s not just pop music, it’s more than that, as Bob Dylan said, it’s “life, and life only”.

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And Etta’s song? — again, video below…

To me, Etta’s song, voice and life between them bring up a whole different set of issues. Here’s where “love” trumps “morality”.

Etta James’ obituary in The Guardian contains this paragraph:

Her approach to both singing and life was throughout one of wild, often desperate engagement that included violence, drug addiction, armed robbery and highly capricious behaviour. James sang with unmatched emotional hunger and a pain that can chill the listener. The ferocity of her voice documents a neglected child, a woman constantly entering into bad relationships and an artist raging against an industry and a society that had routinely discriminated against her.

Is that “immoral” – as one part of my brain would like to conclude?  Or is it glorious — is a voice soaked in whiskey and wreathed in smoke the only voice that can chill us like that, that can bring us to our senses, to our knees, to compassion?

Is this — “and armed robbery’ — the price we sometimes have to pay for artistry?

One way of dealing with this recurring business of those who bless us with extraordinary gifts despite their own lives seeming at times wretched and accursed is – to tweak a well-worn phrase slightly – to hate the sin but love the singer.

I think that’s cheap.  I think Etta – and many others – was hollowed out, and that it’s that hollowing, precisely, that gave her the depth and the voice to reach us so profoundly.  So I lament Etta’s passing today, and have taken time out to let her sing to me.

Etta James: may she rest in peace.

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Katy Perry:

4. Etta James:

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h/t Maureen Lang and taters.

[ by Charles Cameron — a mixed week for the scythe-man ]

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h/t Log 24