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[ by Charles Cameron — Breivik, network analysis, graphical presentation, morale and materiel, hard problem in consciousness ]

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If I might wax over-the-top lyrical for just a moment…

Like an early morning bouquet of wildflowers appearing out of the mists —

or like some translucent sea creature perhaps, with galaxies in its veins and tendrils — the mind of Anders Breivik is imaged here by Britain’s Guardian datablog in a graphical mapping of the hyperlinks found in his 1500 page manifesto, and the links between the sites he links to.

Beautiful, no? Like an early morning bouquet?

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Three things:

• mapping Breivik’s online links for us is a valuable service.
• the glamour of high-tech graphical interfaces can be deceptive.
• there’s no map of the link between concept and act.

That last one, if you ask me, is the real bouquet.

We can know quite a bit about what Breivik read, and even figure out some of how he “connected the dots” – but the move from thinking about to taking action is the one that matters most – and we don’t have much of a handle on it.

It’s not on the map.

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Such lacunae bother me.

A lot of our maps and models move between one quantity and another, and a lot of our thinking, correspondingly, has to do with materiel rather than morale — but nowhere is there a map or model of how quantity and quality affect each other, or how morale “force multiplies” materiel — even though “real life” moves seamlessly between (subjective, qualitative) mind and (objective, quantifiable) brain.

We have no map to walk us through the hard problem in consciousness — except our own insight.

And x-rays do not an insight make.

[ by Charles Cameron — graphical analysis, selling bibles to teenage boys, tge Mass in time of war ]

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Following on from my post on the work of Al Farrow, and leading towards a series of posts on ritual and ceremonial, I’d like to show you two very different images at the overlap of war and religion.

The first shows two different covers of the books of Joshua, Judges, Ruth, I & II Samuel, I & II Kings, Ezra and Nehemiah, as featured in a “biblezine” edition of the New Century Version of the Bible pitched at teenage testosterone.

Each of will have our own sense of whether that’s fun, stupid,  Biblical, unBiblical, enticing, disgusting or simply uninteresting — but whatever your aesthetic and/or belief-based response, there’s a powerful lesson there in the choice of subtitles:

how unstoppable warriors got so awesome…
courage and faith wins the battle…
how to impress the girls!
how to take on giants!
women that seduce…
tons more random cool stuff lists…

I’m not a fan of this kind of thing myself, but I picked up a copy when I saw one at the thrift the other day — the one with Men of the Sword on the cover — and as someone who has done a fair amount of copy-editing in my day, was surprised to see “courage and faith wins the battle” (sic) had slipped past the editorial eyes at Nelson Books…

The New Testament in the same series is a bit better — the cover still features “dynamic stories of daring men” –but the, ahem, romantic element has been toned down a bit, with the catch phrase “class act: how to attract godly girls” replacing the Old Testament’s “how to impress the girls”.

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Okay, I’m not as young as I once was, and maybe I’ve been mean enough at the expense of these people who want to market the Bible as though it was an invitation to warfare washed down with sex.

The other image I found recently comes a great deal closer to my own taste, and will serve as an excellent introduction to the idea of religious ceremonial as an oasis of peace in time of war:

Again, I suppose there may be some who will find the idea of religious ritual boring and irrelevant rather than beautiful — but it is its capacity to move us at a deep level — even (and perhaps particularly) when high tides of  circumstance and emotion are breaking over us — that I wish to focus on and, to the extent that it is possible, explore and explain in  some upcoming posts.

In my view, it was this kind of beauty, verging on the austere and the timeless, rather than the snazzy and faddish “impress the girls — draw in the kids” kind, that Pope Benedict XVI had in mind when he said:

Like the rest of Christian Revelation, the liturgy is inherently linked to beauty: it is veritatis splendor. The liturgy is a radiant expression of the paschal mystery, in which Christ draws us to himself and calls us to communion. As Saint Bonaventure would say, in Jesus we contemplate beauty and splendor at their source.

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I am not a Catholic, though my sympathies run in that direction, and my examples of ceremonial will not be drawn only from Catholic or Christian sources — part of what i want to explore is the universal quality of ritual as a powerful source of motivation and inspiration, while another aspect has to do with the interweaving of military, religious and state symbols, but the point I would most like to make in each case is the profound impact that such symbols and rituals can have on the receptive heart.

I hope to touch on a wide range of ritual expressions, from the Requiem for a departed princely Habsburg to the Lakota sweat lodge, and from to the fire-walking ceremonial of the Mt Takei monks of Japan to the Spanish bull-fight, with a close look at the ritual surrounding coronation in my own British tradition.

For those who would like to peer deeper into these matters, I would suggest these four books:

Victor Turner, The Ritual Process
Geoffrey Wainwright, Eucharist and Eschatology
William Cavanaugh, Torture and Eucharist
Josepha Zulaika, Basque Violence: Metaphor and sacrament

The first explains “how ritual works” from an anthropological point of view, the second deals with the purposeful interweaving, accomplished within ritual, of time with the timeless, the third with the way in which sacramental transcendence is the very antithesis of torture, and the fourth with the impact of a sacramental sensibility within terrorism.

Each one is a masterpiece of intelligence and profound feeling.

[ by Charles Cameron — hypertext, rhetoric, glass bead games, civility ]

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

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The idea here would be to format a blog post and series of 7 comments by a Querent (the one with the Question) who may also be the Umpire — both roles would be issue-neutral — a Proponent who would propose and support a thesis, and an Antagonist who would oppose it.And I should add, right at the outset, that this is a formal process for the named participants — as a white tie debate at the Oxford Union is a formal process — no matter how raucus the kibitzers may get, and accordingly requires a day or two between moves to allow for consideration, research and preparation.

The Querent makes the first move in the first position on the board, giving it short move title (short enough to be typed on the board graphic in the space currently occupied by the word “issue‘) and a paragraph or so of move content setting forth concisely the issue to be discussed — ideally via an issue neutral anecdote or quote. After each move, the Querent (or a graphically inclined observer) would ideally update and post the game board after inserting the relevant move title.

[ Those who are not among the named participants may of course kibitz at any time… ]

The Proponent next carefully chooses a pithy quote or anecdote, gives it a move title (as above), and posts the move title, the chosen move content (the anecdote or quote selected), the link claimed (setting forth concisely the nature of his or her argument as it relates to the move content of the Querent‘s issue), and if she or he so chooses, a comment (the comments in a HipBone Game are intended for meta-conversations among the various players).

The Antagonist then similarly chooses an anecdote or quote, and posts move title, move content, links claimed — in this case, showing the links with both the issue as stated at position 1 in the Querent’s move, and the thesis as stated in position 2 in the Proponent’s move — and a comment if so desired.

Okay, that’s thesis and antithesis, the Umpire then posts a move title, some move content and links claimed to all three positions in play, with a comment if so desired, in the fourth position (labeled synthesis).

The rule is that whenever playing in a position which links via a board line to one or more previous moves, the links claimed must include explanations of how the move relates to those previous moves.

The Antagonist plays next in position 5 — playing move title, move content, links claimed, comment — providing an instance with which to dispute the thesis, and linking as per the rule just stated to the thesis proposed at position 2 — only!

Since position 5 is only connected to position 2 of those positions in play, no other links should be claimed.

Similarly, the protagonist then plays in position 6, a move which I’ve called the “prothetical” instance without a clue as to whether prothetical is a real word — tho’ I like it — linking only to the antithesis in position 2, which it seeks to refute.

Move 7 is by far the trickiest of the game, and is made by the Umpire, who now has to provide move content that synthesizes the game thus far, explaining links claimed to positions 2, 3, 4, 5 and 6 (ie to the original thesis, antithesis and synthesis, but moving the synthesis to encompass also the two instances)…

But the Umpire can take consolation in the fact that in the final move 8, the Querent gets to raise afresh those questions which remain — now that both sides have had their say, and the Umpire has attempted reconcile them.

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Three quotes, the first one on debate:

Harmony among conflicting viewpoints, not the victory of one of them, should be the ultimate goal…

— from Bizell & Herzberg, The Rhetorical Tradition, as quoted here

The second moving from debate to dialog:

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.

— David Bohm, Science Order and Creativity, p 86

And the third, from Buddhist Madhyamika philosophy, moving into the contemplative realm where all answers are seen as the stepping off points for open questions:

I wanted to use one word in Tibetan that I’ve found very useful for myself… and this is the word zöpa.. this translates usually as patience or endurance or tolerance, but there’s this very subtle translation of zöpa, which is the ability to tolerate emptiness basically, which is another ways of saying the ability to tolerate that things don’t exist in one way, that things are so full and infinite and leave you so speechless, and so undefinably grand – and these are just descriptive words, but you have to use some words to communicate, I guess — the ability bear that, that fullness, like we’ve been talking about, not turning away, not turning away.

— Elizabeth Mattis-Namgyel, in (if I recall) a Shambhala-sponsored retreat video

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A blank Dart board, downloadable for your convenience:

[ 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: