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[ by Charles Cameron — analytic and esthetic game boards, HipBone Games, bishops in procession, Darth Vader, police,  OWS, clowns ]

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I’ve been frustrated for a while now by the size limitations of my DoubleQuotes format, with which regular ZP readers may well be familiar, and never more so than when trying to juxtapose images — which often have to be reduced to near invisibility to fit…

Today I had a pair of photos I wanted to juxtapose for you, and came up with a new format that allows me to do a better job with images: the Specs. That’s Brit for “the spectacles, you know, ie glasses, and thus by extension “binocular vision” — but it also references “spectacle” in the dramatic sense, and (again, by extension) “specification” in the sense of offering a minimal set of requirements for grasping the essence of a situation…

Here, then, is my first pair of spectacles:

The top image is from a Lutheran church function in Iceland [video and further details], the lower one is from the Occupy movement…  the hi-fashion specs in miniature in the middle are by Tom Ford…

And it seems to me they’re all dressed up for their respective occasions…

[ by Charles Cameron — childhood memories, computer history, creative thinking, analogy, bead game ]

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This menacing old pile, Horsley Towers — John Julius Norwich said of it in his Architecture of southern England, “The over-riding idiom seems to be vaguely Italianate Gothic, but in reality East Horsley is like nothing but itself, a grotesque Victorian Disneyland which has to be seen to be believed – and may not be even then” — was home to Ada, Countess of Lovelace, daughter of the poet Lord Byron.

Today is Ada Lovelace Day, and I have special reasons to honor her.

For one thing, I grew up inside these gate-towers, in the last little house before the Lovelace estate proper began, and certain features of the first fields on the way to the big pile were my childhood haunts, the old oak with its dark and mysterious hollow wound, the clovered grass and cow pats, the small mound for boyish climbing, the bramble bushes with their delicious blackberries…

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But it is as a devotee of Hermann Hesse‘s great Bead Game that I want to celebrate Ada Lovelace today —

for she illustrates to perfection the importance of cross-disciplinary analogies in creativity.

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Consider this diagram from Mark Turner‘s The artful mind: cognitive science and the riddle of human creativity, based on those in Arthur Koestler‘s The Act of Creation (eg those on pp 35 and 37):

Hesse proposes — in his Nobel-winning novel, the Glass Bead Game (aka Magister Ludi) the building of an architecture of ideas in which the great works of human culture are linked — bound together — by analogies between them.

Beginning players of his Game,  he writes, learn “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.” As I wrote elsewhere, on a more complex level, Hesse speaks of scholars proposing materials for inclusion in the Game Archives, and specifically mentions someone who had been studying “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”…  Hesse couldn’t possibly have known about it when writing that particular sentence, of course, but there is actually a book by Jane-Marie Luecke, OSB, entitled Measuring Old English Rhythm: an Application of the Principles of Gregorian Chant Rhythm to the Meter of Beowulf, (Literary Monographs, vol 9, U. Wisconsin Press, 1978).

Hunh?  So?

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Consider what Ada, Countess of Lovelace hath wrought.

She perceived just such an analogy — comparing Charles Babbage‘s Analytical Engine with Jacquard‘s mechanical loom, and writing:

The Analytical Engine … weaves algebraic patterns, just as the Jacquard-loom weaves flowers and leaves.

That analogy between weaving and algebra was the great creative leap: from there to the adoption and adaptation of Jacquard’s punched card system in computation was the lesser step from insight to application.

And think about it: her mind moved unerringly between “art” and “science” — or more exactly, craft and mathematics — in 1843, to deliver a technological insight on which the mainframes of the 1970s still relied…

That, my friends, was a superb move in the spirit of the Glass Bead Game — and impossible without a well-furnished and agile mind.

[ by Charles Cameron — mapping, silos, Y2K, 9/11, rumors, wars, Boeing 747s, Diebold voting machines, vulnerabilities, dependencies ]

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The “bug” of Y2K never quite measured up to the 1919 influenza bug in terms of devastating effect — but as TPM Barnett wrote in The Pentagon’s New Map:

Whether Y2K turned out to be nothing or a complete disaster was less important, research-wise, than the thinking we pursued as we tried to imagine – in advance – what a terrible shock to the system would do to the United States and the world in this day and age.

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My own personal preoccupations during the run-up to Y2K had to do with cults, militias and terrorists — any one of which might have tried for a spectacle.

As it turned out, though, Al Qaida’s plan to set off a bomb at Los Angeles International Airport on New Year’s Eve, 1999 was foiled when Albert Ressam was arrested attempting to enter the US from Canada — so that aspect of what might have happened during the roll-over was essentially postponed until September 11, 2001. And the leaders of the Ugandan Movement for the Restoration of the Ten Commandments of God, acting on visionary instructions (allegedly) from the Virgin Mary, announced that the end of the world had been postponed from Dec 31 / Jan 1 till March 17 — at which point they burned 500 of their members to death in their locked church. So that apocalyptic possibility, too, was temporarily averted.

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Don Beck of the National Values Center / The Spiral Dynamics Group, commented to me at one point in the run-up:

Y2K is like a lightening bolt: when it strikes and lights up the sky, we will see the contours of our social systems.

— and that quote from Beck, along with Barnett’s observation, pointed strongly to the fact that we don’t have anything remotely resembling a decent global map of interdependencies and vulnerabilities.

What we have instead is a PERT chart for this or that, Markov diagrams, social network maps, railroad maps and timetables… oodles and oodles of smaller pieces of the puzzle of past, present and future… each with its own symbol system and limited scope. Our mapping, in other words, is territorialized, siloed, and disconnected, while the world system which is integral to our being and survival is connected, indeed, seamlessly interwoven.

I’ve suggested before now that our mapping needs to pass across the Cartesian divide from the objective to the subjective, from materiel to morale, from the quantitative to the qualitative, and from rumors to wars. It also needs a uniform language or translation service, so that Jay Forrester system dynamic models can “talk” with PERT and Markov and the rest, Bucky Fuller‘s World Game included.

I suppose some of all this is ongoing, somewhere behind impenetrable curtains, but I wonder how much.

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In the meantime, and working from open source materials, the only kind to which I have access – here are two data points we might have noted a litle earlier, if we had decent interdependency and vulnerability mapping:

Fear-mongering — or significant alerts?  I’m not tech savvy enough to know.

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Tom Barnett’s point about “the thinking we pursued as we tried to imagine – in advance – what a terrible shock to the system would do to the United States and the world in this day and age” still stands.

Y2K was what first alerted me to the significance of SCADAs.

Something very like what Y2K might have been seems to be unfolding — but slowly, slowly.

Are we thinking yet?

[ by Charles Cameron — art, religion, and violence ]

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Al Farrow, the San Francisco-based artist, finds and shows us that violence which is one pole of religion — what I think of myself as the landmines in the garden, where the garden is pardis, pairidaeza, paradise, the opposite pole of religion — perhaps inseparable from the violence, perhaps separable — the pole of peace, eirene, salaam…

He show us this uncanny juxtaposition by building. meticulously, a cathedral out of guns and bullets:

His work leaves me impressed, but ill at ease, and for that I am grateful: he makes me think.

Take a close look at one of those flying buttresses… and compare it with its cousins at Notre Dame:

That detail really brings the power of Farrow’s work home to me.

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William Blake suggested that it is the artist’s function to “cleanse the doors of perception” — to give us fresh eyes, to see the world anew for us.

Al Farrow does this: it is as though in his cathedral, Catholic and Protestant Ireland meet.  Indeed, in an exhibit of his works — he has built mosques and synagogues of guns and bullets too — Christianity faces off against Islam, Judaism confronts its demons.

But there’s something more here, perhaps – the clash of war and peace, of hate and love — and how hatred can at times work with “love” as a protective shield…

Farrow himself says:

I am perpetually surprised by the historical and continuing partnership of war and religion. The atrocities committed in acts of war absolutely violate every tenet of religion, yet rarely do religious institutions speak against the violations committed in the name of God. Historically, Popes have even offered eternal salvation to those who fought on their behalf (The crusades, etc.).

In my constructed reliquaries, I am playfully employing symbols of war, religion and death in a facade of architectural beauty and harmony. I have allowed my interests in art history, archeology and anthropology to influence the work. The sculptures are an ironic play on the medieval cult of the relic, tomb art, and the seductive nature of objects commissioned and historically employed by those seeking position of power.

There’s considerable further irony, therefore, in the way in which Farrow’s already ironic work can be juxtaposed with it’s utterly non-ironic equivalent – Saddam Hussein‘s concept of the Mother of All Battles Mosque:

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Farrow’s work does not instruct us to be warriors, nor to be pacifists – it draws our attention to the blend of violence and peace of which our human dreams and lives are made. As Farrow says in this video clip from an exhibit of his work in Washington:

I use real bones, real bullets, real guns, because fake bones wouldn’t shake anybody up, nor would a fake gun. The purpose of my work is actually to get people to think about that complex relationship between war and religion – or any violence and religion. And a lot of violence is committed and has been through history in the name of religion, and that’s an ongoing thing, in any part of the world you look.

And yes, I think it’s fair to say Farrow’s juxtapositions of religion and violence clearly lean us towards peace.  War does the same, no?

War, after all, destroys places of worship, along with many and varied other places – munitions dumps and churches, mosques and homes:

But just as religion has its landmines, so too it offers us its gardens – and just as a mosque or church or temple may be a rallying point offering a divine sanction to violence, so too it may be a focus for peace and reconciliation.

Out of the ashes of destruction: creation, renewal, rebuilding…

For more on Al Farrow’s work, visit the Catharine Clark Gallery page.  And feel uneasy by all means, meditate — the koan I am sitting with this month is “Stop the War” — and ponder…

[ by Charles Cameron — hypertext, rhetoric, Talmud, civility ]

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I have been thinking quite a bit recently about formats for online debate, and posted a comment on Jean Goodwin‘s blog yesterday, in which I commented on the Talmudic page (see R Eliezar Segal‘s excellent hypertext version for an explanation of how it works). It’s a topic that has interested me since before the turn of the millennium, and one I’ve discussed and prototyped a bit in some of Howard Rheingold‘s class forums.

Yesterday in my comment on JG’s blog, I said:

My guiding principle here is that devising suitable forms may well elevate the content poured into them…

I said this because, in my view, constraint facilitates excellence.

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Part of the key here is captured very nicely in this quote from Jean Toomer:

In this multiple simultaneous world words only dole out one thing at a time.

So we need polyphony, we need forms that capture many voices, many points of view, the perspectives of many stakeholders, simultaneously — not a linear progression from premise to conclusion.  And since we’re talking argumentation here, this simultaneity can be captured in a graphical form, as in this diagram based on Toulmin:

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In that spirit, I thought I’d post a couple of my own experimental formats.  The first is based fairly closely on the Talmudic page — and I put it together in March of this year, so things in Libya have moved along a bit since then, though not quite enough as yet:

My second format is a variant on the “Dart Board” sometimes used for playing my HipBone Games (see, for instance, my solo game War is Sexy, says Dawn).

I shall present it in a follow up post of its own.

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For your convenience, here’s a blank template for the kind of Talmudic debate-page I used above, available for download.  It can be filled with any graphical software that allows text and a choice of fonts & sizes.  I recommend using larger type for the main text, medium for the commentary, and small print for annotations and footnotes: