Category Archives: serendipity

Artist’s Statement, Part I.

FB-Landing Cage 36x27-Stephen Calhoun

Ongoing, and maybe, never ending project aims to describe what I’m up to, as an artist. In my case, my hope is that the statement unhooks the viewer from its priming effect. My artistic goal hopes to invert the conventional idea that the viewer is supposed to correctly decode the artist’s authoritative objective, itself intentionally encoded in the so-called global unified material object. I do not encode my work with this end in mind, so there cannot be anything but authoritative experiences.

ARTISTIC STATEMENT

I.

My art’s aim is to grip the viewer, and then inspire the viewer to seek their own unique discoveries in each piece. The pieces present deep opportunities for visual serendipity by drawing the viewer into experiential, insightful, seeking.

I do not create images to pre-program or encode the viewer’s experience. Each piece is underdetermined up to the point of the viewer’s enactive presence and constructive experience.

The pieces aim to invoke a kind of pareidolia. (Pareidolia–the grasp of order from seeming randomness–is the psychological phenomenon where people see recognizable shapes in clouds, rock formations, or otherwise unrelated objects or data.)

The engaged viewer completes the image’s possible program by virtue of their own subjective and unique experience.

My artistic intention is evoke the truth of spontaneous discovery. Each piece captures an experimental result. The viewer’s unique encounter and seeking completes the experiment.

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The Wonder of Decay

Art of the Collection: The Photography of Rosamond Purcell from Hans Weise on Vimeo.

An Art That Nature Makes, Molly Bernstein’s new film about the artist Rosamund Purcell, has opened, and closes tomorrow. Clearly this will be a must see once the Film Forum in NYC receives its due.

Ms. Purcell doesn’t count as an influence on my own art, although we work in related veins. I’m a naive artist after all! But, I’m relieved one of the world’s finest photographers never became animated by mirror symmetries! Many of her photographs possess qualities worthy of their being cut and re-coalesced.

Still, as it is with most (of us) artists working with photographic set-ups, Purcell is famously a scavenger and collector.

Wunderkammer

Collectors of our sort do end up with their own cabinet of curiosities.

from the article An Eye For Anomaly,

The rotted book, along with the other objects she has amassed in her studio, reflects her fascination with “things that are transitional — between natural and artificial,” as she puts it, and with decomposition’s way of forming strange and symbolic juxtapositions.

Yes. Same rotted page.

Note her comment during this Q&A about randomness. This would be the subject I would engage her on if I ever had the chance. I couldn’t make out the question about kitsch, also a concerning subject.

She’s not in the collection of the CMA. (Shakes head)

No (!) Wikipedia – her books:

Egg & Nest (Harvard, 2008)
Owls Head: On the Nature of Lost Things (Quantuck Lane, 2007)
Bookworm (Quantuck Lane, 2006)
Ricky Jay: Dice: Deception, Fate and Rotten Luck (Quantuck Lane, 2002)

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Throw Back What You Catch

Throw Back What you Catch (3 Panel Version)

Throw Back What you Catch (3 Panel Version)

Garage sales are a primary source for the raw material for my photographic and generative art work. The process of gathering these materials together is part of my creative process.

In late June I ventured down the driveway of a beautiful Georgian style house in Shaker Heights, and arrived at the point of sale, where several portable tables were set up. Yet, what caught my eye as I scanned the large backyard were several desiccated peonies. On closer inspection I observed a really well thought out landscape and flower garden, centered on a tiny cabin and pond. To myself, I went, “Hmmmmm.”

Turning my attention to the tables full of cast offs and objects, I spotted a plastic bag with small figures in it. I looked inside and discovered it was the oddest chess set I have ever seen. Its motif was fishing and hunting, so, for example, the pawns were depicted by leaping fish, and, apparently, the King was a hunter with a rifle at his side, and the queen was a fisherman with rod and reel at his side, or visa versa.

Making the purchase, I told the older woman, of the two presiding over the sale, that I had a question for her, but, that I had to go out to my car to get a card to show her something.

In short order I came back with the post card for my art opening, handed it to her, and asked her,

“Would it be alright if I cleaned up your peaked peonies. I’m an artist and I use dried out flowers and stuff in photographs?”

She looked at the card, and told me that she too was an amatuer photographer. She looked at the art work depicted on the card.

“Wow!”

She thought for a moment and told me,

“You may help yourself to anything past its peak in my garden.”

(Bingo!) Then she got up and gave me a tour to show me where the goodies were in her beautiful garden.

Over the next few minutes I gathered up fallen roses and peonies and lilies and dried out ferns and other botanicals. As I did so I hatched an idea.

“Ma’am, I have had an inspiration. I am going to build a new piece out of this chess set and all the stuff I have picked up in your garden. This piece will use only stuff from this visit.”

She was surprised and then pleased. I told her she would be the second person to see the finished piece. It was at this point that we introduced ourselves to each other, exchanged contact information.

This all resulted in a bunch of excellent raw photographs. I finished two pieces several weeks ago. Titled, Throw Back what You Catch, it comes in a three panel small size, and in a six panel large size. The large size is four by six feet (and would be printed to aluminum.)

I presented her with a signed, framed paper proof of the three panel piece this week. She was tickled and reminded me I could hunt and gather through her garden “any time!”

***

My human encounters while garage ‘sailing’ provide me with great joy, just as well as tromping around the neighborhoods of the east side of Cleveland helps me stock up on vital artistic resources. For example, when people learn that I want to buy junky costume jewelry to put in photographs, sometimes they will tell me to ‘hold on,’ and go into their house and come back out with what they fetched, and then give it to me for free. This happens all the time.

Upon reflection I understand that my creative aims make room for my art being participatory in the way my goals allow for a friendly and serendipitous conjunction of human interaction, enacting/transacting, recycling, and, ‘reversioning’ of botanicals, junk, and objects.

In this way, art pieces come to embed: social processes, objects with specific origins, and the many stories about how stuff comes to end up in my hands.

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Missing Contingency

Ouroboros (Stephen Calhoun - 2016)

Ouroboros (Stephen Calhoun – 2016)

This motivational tendency is a creative process through which the agent approaches new solutions, and enacts new meanings (Arnellos et al. 2007). As we have argued so far, aesthetic emotions provide the agent with the capacity to enact even before learning, by assigning values to current interactive conditions as pro- visions of the enacted meaning. Thus, aesthetic experience motivates the agent to avoid situations, for which the valuative signals are negative (or aversive), and to seek situations for which those signals are positive (or rewarding). This is what we call motivational tendency of aesthetic experience. Accordingly, we suggest that a minimal aesthetic experience should be considered as an aesthetic emotional eval- uation that forms an anticipation for a certain interaction, thereby reducing the interactive uncertainty. Aesthetics as an emotional activity that facilitates sense-making: Towards an enactive approach to aesthetic experience (Ioannis Xenakis and Argyris Arnellos)

Richard Shusterman – Somaesthetics Youtube

I believe that philosophical thinking is not confined to professional philosophers with Ph.D.’s in this subject. This brings me to a further point about the somaesthetics-philosophy relationship. If we conceive philosophy broadly as an ethical art of living that is guided by critical inquiry aimed to promote a more aesthetically satisfying form of life for both self and society, then the various disciplines and forms of knowledge that contribute to this art of living (even if they are not distinctively or professionally philosophical) can be related to the broad philosophical project of the quest for wisdom in how to live better lives. Somaesthetic research in forms outside the normal disciplinary bounds of philosophy surely can contribute to this overarching philosophical project. Interview: Richard Shusterman in Budapest

Somaesthetics at www.interaction-design.org, Encyclopedia of Human Computer Interaction

Richard Shusterman on Somaesthetics and the Middle Way

Cube-O-Probe: Point to clues about the circuit of, Body / Serendipity / Creative Process

CUBEOPROBE-aesthetics

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Forced Choice

Forced-Choice

In sixty seconds,

(1) Pick your favorite.

(2) Pick your least favorite.

LearningCycle

Experiential Learning:
Fourth Annual Experiential Learning Conference June 16-17, 2016

Hunting and Gathering In the Cleveland Art Museum
(Thursday June 16, 1:45pm) facilitated by Stephen Calhoun, squareONE:experiential toolmakers

Hunting and Gathering sets eager learners to the playful of task of exploring and
discovering consequential relationships between their personal learning goal and novel data able to be hunted down and gathered in the galleries or environs of the Cleveland Art Museum. This experiential tool blends a model of collaborative experiential learning with a framework for deliberately animating a learning space.


Here listed are several aspects of experience and learning I am fascinated by, and, drawn to theorize about, in a most informal way. Other times, I rope in subjects and do experiments!

One–entanglements of contexts and their contextualizations; abductive contextualizing
Two–personal culture and the geneaology of individualized knowledge
Three–hidden contingencies, webs of uncertainty, biosemiotic fragility
Four–novelties, serendipities, oracles, synchrons

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Hunch a Bunch

BobbyZ9_

“Instinct paints my pictures and guides me to my next subject. It’s the voice that says it’s not here, it’s over there.”
– Tasmanian artist Bobby-Z Lambert

A few days ago my cell phone rang and a voice with a British-like accent just started in, and, after a minute or so I disrupted the caller simply to learn with whom i was engaged with! He introduced himself as a fellow artist, calling from Tasmania, calling from fourteen time zones away at 10:45am in my time zone, calling because he had a hunch ‘we had a bunch in common.’

Bobby-Z had discovered my artwork and then made his way over to this blog. He read enoguh to suggest common interests and possible shared affinities.

This sense of his was revealed to be accurate–after we had spoke for forty-five minutes.

How much respect do I have for persons willing to jump right into the opportunity of relations with complete strangers based on a hunch? I have nothing but respect for such audacious acts.

Who is Bobby-Z?

Bobby-z … and the Miners of Potosi

Bobby-Z Interview Gallery Salamanca

. . .kindred soul.

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Touch Recognition

Stephen Calhoun, artist

Gemini’s Sense of Humor (2016) 38×44″

Around the middle of January I received an email from a stranger. This happens often. The question about such emails is: will it sort into the box labeled Serendipitous Contact, or, Internet Scammer?

This one ends up in the former box. Its author had been urged to visit my art web site by a friend from my Vermont chapter. In her email she wrote: I have not begun to plumb the depths of your site, but I am grateful to learn the word pareidolia. I create art and music that is pareidolic (word?) in process. Previously, I have just called it “clarifying the images”. Thanks for the new vocabulary. When I googled pareidolia, I also learned the word apophenia. Also a great phenomenon.

J.S. hipped me to the artist Remedios Varo. Fantastic!

via Wikiart

via Wikiart

She suggested I might correspond with her friend, Genese. She described her friend: She has a great mind, and the spirit of a wild sprite.

Pareidolia, Seeing Patterns, Making Meaning – Genese Grill

Here are two excerpts from longer, and essential, posts. Ms. Grill doesn’t publish posts often, but when she does, her consciousness lights up her subject matter.

AN APOLOGY FOR MEANING The artist, as the “creative subject” par excellence, re-vivifies stale images and ossified words, dissolving the fixed relations and drawn boundaries around entities and forging new meaningful connections between materiality and imagination, individual particularity and archetypal abstraction.

CORRESPONDENCE AND DIFFERENCE A sense of what is beautiful, evidently, is at least somewhat natural and universal. And the works of art or ritual made with this sense of what is beautiful still resonate with a mysterious significance, even if we today cannot fully understand or believe in the things that were sacred to the people who made them. Translation across time and cultures is needed for a more approximate comprehension of the objects, but something very powerful, something powerfully familiar is present even without a struggle. What we want is to maintain the strangeness, while approaching a comprehension. What we must avoid is to diminish difference in the interest of a complete and total correspondence.

I haven’t taken up L.S.’s suggestion. I will. The outreach recently coming my way through the serendipitous transmission has tipped a bit, and so it will be my own effort which brings it back in balance.

Why? Is the highest artistry given in the penetrating and receptive engagement of intracommunicating being?

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Don’t Follow the Directions

Stephen Calhoun, artist

Jack’s New Scheme (2015)


Pagan Kennedy’s New York Times feature, How to Cultivate the Art of Serendipity, is apparently drawn from her new book, due January 26, Inventology. Her article is a very good read.

inventology

In the article Kennedy mentions a researcher, Sanda Erdelez. A little digging brought her paper Information Encountering, A Conceptual Framework for Accidental Information Discovery to light. At the end of the paper her summary inspired me to reflect on the status of “pre-direction” in search routines.

From this it seems worthwhile to muse on a adirectional learning, and directionless directing.

Meanwhile, Kennedy wrote:

That’s why we need to develop a new, interdisciplinary field — call it serendipity studies — that can help us create a taxonomy of discoveries in the chemistry lab, the newsroom, the forest, the classroom, the particle accelerator and the hospital. By observing and documenting the many different “species” of super-encounterers, we might begin to understand their minds.

A number of pioneering scholars have already begun this work, but they seem to be doing so in their own silos and without much cross-talk.

What could these researchers discover if they came together for one big conversation?

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Eno On Cybernetics and Music Making

This video is new to me and it provided a big wallop.

In my framing of fortuity, contingency and fragility, I have only roughed out some of the implications for music making. B.E. helps move this forward during a really essential 15 minutes.

He mentions Stafford Beer. (He, along with Ralph Stacey, Gordon Pask, and Gregory Bateson, probably did the most to extend cybernetics to human domains in the first wave of cybernetic thinking. Largely from Beer and Stacey we gain the concept of soft systems, and from Beer we gain the Viable Systems Model (Trevor Hilder’s presentation – pdf).)

What Is Cybernetics?

Leonod Ototsky’s fond archive and research on Mr. Beer is a terrific old style web site.

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Penetrating Sensings I.

(1)

“The actual order (the Implicate Order) itself has been recorded in the complex movement of electromagnetic fields, in the form of light waves. Such movement of light waves is present everywhere and in principle enfolds the entire universe of space and time in each region. This enfoldment and unfoldment takes place not only in the movement of the electromagnetic field but also in that of other fields (electronic, protonic, etc.). These fields obey quantum-mechanical laws, implying the properties of discontinuity and non-locality. The totality of the movement of enfoldment and unfoldment may go immensely beyond what has revealed itself to our observations. We call this totality by the name holomovement.” David Bohm

(2)

In the free play of thought, creative intelligence responds to opposition and contradiction with new proposals.” David Bohm

dharma-wheel-gs

For me and my research into serendipity the notion of hidden connectedness yields to the notions of uninstantiated contingency and radial contingency. In the free play of uninstantiated contingency, sensitive (to radial contingency,) intelligence responds to possible fortuities and unknown potentials with new conjunctions.

Radial contingency means the possibilities that are located at the end of the spokes of a observer/participant’s awareness, as this awareness radiates outwardly toward other locations of awareness.

“The quantum field contains information about the whole environment and about the whole past, which regulates the present activity of the electron in much the same way that information about the whole past and our whole environment regulates our own activity as human beings, through consciousness.” David Bohm

Also, my experiential aesthetics being rooted in a theorization of generative learning are deeply informed by Bohm’s conception of enfoldment.

“Everybody has seen an image of enfoldment: You fold up a sheet of paper, turn it into a small packet, make cuts in it, and then unfold it into a pattern. The parts that were close in the cuts unfold to be far away. This is like what happens in a hologram. Enfoldment is really very common in our experience. All the light in this room comes in so that the entire room is in effect folded into each part. If your eye looks, the light will be then unfolded by your eye and brain. As you look through a telescope or a camera, the whole universe of space and time is enfolded into each part, and that is unfolded to the eye. With an old-fashioned television set that’s not adjusted properly, the image enfolds into the screen and then can be unfolded by adjustment.” David Bohm

David Bohm, Implicate Order and Holomovement (via scienceandnonduality.com)

Two Opposing Types of Order (via Learning to See Timelessness, everythingforever.com)

Interview (1997) with F. David Peat

David Bohm’s Theory of the Implicate Order: Implications for Holistic Thought Processes
Irene J. Dabrowski ISSUES IN INTEGRATVE STUDIES No. 13, pp. 1-23 (1995)

Morphic Fields and the Implicate Order A dialogue with David Bohm (Rupert Sheldrake)

David Bohm.net (curated home page || The David Bohm Society

Mandala-Bohm-quote

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The Flux of Serendipity

Kate, her sister Holly, my wife Susan, with custom pizzas each designed

Kate, her sister Holly, my wife Susan, with custom pizzas each designed

I told my new friend David, ‘last night the Kuper sisters came over for dinner.’

Kate has been a friend of mine since around the summer of 1967, and I met her the first time in the early weeks of seventh grade. At some unknown point during that same time I met her older sister Holly and her younger brother Peter. By the time ninth grade started in the fall of 1968, Kate and her two girlfriends Joan and Sarah were pretty much my closest friends. And, I spent a lot of time at the Kuper’s house because the Kupers were a simply joyful, creative and cool bunch.

Fifty years later, Kate lives with her family in Illinois, and Holly lives with her family outside Dallas. Earlier yesterday I met Kate and Holly, along with some family friends, who came together at the tree planted in memory of their wonderful parents. There I met Mrs. Johnson, who was both a Kuper family friend, a friend of my late mother’s, and, a teacher at Hawken School at the same time I was there as a member of the class of 1972.

After I told my new friend David, ‘last night the Kuper sisters came over for dinner,’ he told me how he would have liked to have been there because he knew the Kupers too, and, in fact, Buzz and Ginger ran in the same activist circles David’s own parents ran in from the sixties onward.

This is not an example of a dramatic coincidence. Over my years of thinking about serendipity, I have come to recognize how stable is the web of local potentials and contingencies when the location of persons is close by one another, and they share preoccupations, and, in effect, the channels for binding relationships are readily accessible.

However, there are hidden features too that make the total contemporary arrangement the result of very fragile arrays of realized contingencies. I am a new friend of David’s because I ventured into his garage sale a year ago, and he responded to his sense that I looked familiar by asking what was my name. In fact, we figured out that although we were not even acquaintances during our one shared school year, that it was likely sometime at the end of the 1972 school year we last caught sight of one another.

I was in a position to go to the garage sale by virtue of a huge array of realized contingencies, and one of the first order ones concerned my high school spanish teacher Mr. Carter, who gave me three “D’s” rather than flunking me–when I had earned the F. A first term F in Spanish would have shaken up my deck a bit, and, it probably was the case that when David remembered me from spanish class he was remembering me retaking my second year of spanish. In any case, the three D’s thankfully destroyed my grade-point average. In turn I did not do well enough to go to Haverford, the college David matriculated to two years after my senior class graduated.

But, there was yesterday Mrs. Johnson who shared an office with Mr. Carter, as both were foreign language teachers together. Had this same Mr. Carter treated me more realistically I might have missed out on being shot by a holdup man while working in a record store the summer of 1974. Moreover, David doesn’t learn the Kuper sisters are visiting Cleveland Heights from distant homes because I wouldn’t likely be back in Cleveland because the family crisis that precipitated by return to my hometown in late 1992 may well have not have taken place had my own life path gone even a little bit differently.

Whether or not the web of contingency and causality extends to the Kuper sisters is, at once, a seeming kind of hard problem, or, is itself mixed in with my actual relations with Kate in the two years I remained in Cleveland, prior to being shot in June 1974, because we reconnected in the fall of 1973, after she returned from a long trip abroad.

At the same time, we’re having dinner together last night in one respect because of the serendipitous reconfiguration instantiated by the hold-up man who walked into Music Madness on Lee Road on a Thursday, forty one years earlier in June 1974, took all the cash the store had earned that day, had me lay down on the floor of the backroom office, and, finally shot meat point blank range in the back. Thank goodness.

In the combination of the more stable ecology of local contingent ‘webs’ and the less stable non-local ecologies–when persons leave their family of origin he or she lands in a non-local ecology–the fragility of realized conjunction and potential conjunctions becomes many times more complex, dynamic and, where dynamical complexity increases so does fragility.

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Boojums, Anti-finality, Art, and Learning

Stephen Calhoun, fine artist, Cleveland Heights, Ohio 44118

African Alchemy – African Alchemy Inversion

 

I’ve been in the season of collecting desiccated Lily blossoms from the Lily patches in our yard and the yard of our neighbors, a retired couple. I walk over and show proofs and drafts of new pieces to ‘Mrs. Neighbor,’ when these involve stuff I’ve picked from the floor of their wonderful, large garden of perennials. The other day, I caught both of them and showed them the photo on the left, African Alchemy. Mrs. Neighbor always asks me to invert the image from the geometry I’ve decided upon. Once the photo was turned upside down–inverted–Mr. Neighbor almost immediately remarked that he liked the inversion better than the ‘pre-inversion.’

I like it better this way! (turned upside down)

I studied it. I nodded my head. I walked away wondering whether or not I could create a new piece out of the inversion, or, join the new pieces into a two panel, and new, piece. A new two panel piece could be immense, 74 inches wide by 54 inches in height.

As an artist of the sort of artist I happen to be, the feedback of a viewer which challenges me to pursue a specific experiment further is simply part of the territory my vision for my art and artistic life inhabits.

With respect to this transaction and response, my outlook intends for the transaction to admit a potential for recursion back into the unfinished project.

“Just the place for a Snark!” the Bellman cried,
As he landed his crew with care;
Supporting each man on the top of the tide
By a finger entwined in his hair.

“Just the place for a Snark! I have said it twice:
That alone should encourage the crew.
Just the place for a Snark! I have said it thrice:
What I tell you three times is true.” 

The Hunting of the Snark – Lewis Carroll

The predicate for the recursion is: uncertainty. There is no completed piece. My work obtains its imperfect goal by virtue of the engaged viewer. There is: the piece, the unaltered (abductive) experiential sense, the abductive experiential sense which requires an altered or alternate explanation.  Three times true.

But then I discovered that the rule of three was not invented by Lewis Carroll. It is far older and used to be called nolo episcopari: I don’t want to be a bishop. The idea was that when somebody was appointed bishop it was a given that they would be too humble to accept the post: that’s what Christian humility means. So they would say nolo episcopari meaning “I don’t want to be a bishop”. They were meant to say this twice as a matter of etiquette. On the third request they were meant to surrender and take the mitre. If they did not, if they said nolo episcopari a third time, it was assumed that they were telling the truth and a new candidate was sought. To say something twice may be mere manners, Truth speaks thrice. – Mark Forsythe, author, The Inky Fool

Kailash Awati ends his excellent article about Carroll’s The Paradox of the Learning Organization,

Conclusion. Experts and consultants have told us many times over that the journey towards a learning organisation is one worth making….and as the as the Bellman in Carroll’s poem says: “What I tell you three times is true.” Nevertheless, the reality is that instances in which learning actually occurs tend to be more a consequence of accident than plan, and tend to be transient than lasting. Finally, and perhaps most important, the Snark may turn out to Boojum: people may end up learning truths that the organisation would rather remained hidden. And therein lies the paradox of the learning organisation.

See also, The Hunting of the Learning Organization. A Paradoxical Journey – Paul Tosey, Univ. of Surreypdf

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Discovering Novel Approaches

squareone learning

Learning Intention: Suggest ways of contemplating the problem I have with a person who just will not walk their talk.

comment:

First, a Cube-O-Probe casting from the newest Cube Sets, Archetypal #3, Archetypal #4, and Experiential learning #3.

Second, this learning intention isn’t directly my own, I’ve borrowed another person’s challenge and used his challenge to fashion a worthwhile intention. Note the intention precedes the casting of the Cube-O-Probe. It addresses a common enough problem.

Third, Because I’m expert at formulating learning intentions in the context of prospecting for transformative learning, this nicely shaped intention displays the several facets of a well-shaped intention to learn. It doesn’t ask for a solution, it asks for suggestions. It aims at deploying helpful ideas for the sake of exploring better ideas.

Fourth, The pole opposite TRANSITIONAL is HEROIC. (The given opposite of a pairing rendered by a cube is the pole of the pair that cannot be shown at the same time as its opposite. It is on the other side of the cube!)

Alterity is a philosophical and anthropological term meaning “otherness”, strictly being in the sense of the other of two (Latin alter). It is also increasingly being used in media to express something other than the sameness of the imitative, numbing conformity often found in today’s mass media. (…fairly good snap definition, via Wikipedia)

In philosophy, the phenomenological tradition it is usually understood as the entity in contrast to which an identity is constructed, and it implies the ability to distinguish between self and not-self, and consequently to assume the existence of an alternative viewpoint.

serenity-prayer-051

 

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Cubes Upon Cubes

Archetypal-Cubes-3

Values for Archetypal Cubes – set #3 (2 cubes)

archetypal-cubes-4

Values for Archetypal Cubes – set #4 (2 cubes)

The cubes of the Cube-O-Probe are color coded to make it easy to constitute different aggregates from the several sets.

The following is one cube set of dichotomies taken from what I term the Covert Pairs of the experiential learning theory of David A. Kolb.

set of dichotomies taken from what I term the Covert Pairs of the experiential learning theory of David A. Kolb

Tomorrow I’ll use the set to address a situation for learning.

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Spontaneous Relationship “Be-crossed”

squareONE experiential toolmakers

“authenticity cross”

Intention to Learn: Suggest animated entryways to making sense of relationship forsaked.

(The above diagram melds together two transformative learning devices, The Cube-O-Probe, and Playing Opposites.)

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Spontaneous Relationship

spontaneous relationship

People are just as wonderful as sunsets if you let them be. When I look at a sunset, I don’t find myself saying, Soften the orange a bit on the right hand corner.” I don’t try to control a sunset. I watch with awe as it unfolds. Carl Rogers

One cost of my understanding that the most golden opportunity is being with/doing with people, is uncovered when I learn what the other’s perception is of this primary urge of mine. Additionally, I could catalog the rationales for other person’s disinterest, or, otherwise, for someone not wishing to step toward relationship.

Sometimes a person who has rebuffed my offer might wander back to where our two atmospheres and breath-making intersect, and this seems to offer the playing out of a beginning, grief, authenticity.

Writ to the scale of practice, questions about the varieties of relationship remain under-appreciated. Often considerations of relationship are subsumed by regard for communicative elements, yet this can come to filter such considerations, and do so to the point that understanding of communication comes at the expense of understanding relationship.

Carl Rogers: Core Conditions and Education

The definition of a relationship depends not merely upon the skeleton of events which make up the interaction but also upon the way the individuals concerned see and interpret these events. Thus seeing or interpreting can be regarded as the application of a set of propositions about the world or the self for whose validity depends upon the subject’s believe in them. The individuals are partially free to interpret their world according to the premises of the respective character structure, and the freedom to do this is still further increased by the phenomena of selective awareness and by the fact that the perceiving individual plays a part in creating the appropriate sequences of action by contributing his own his own action to the sequence. (Gregory Bateson, Juergen Ruesch, 1951, The Social matrix of Psychiatry)

In stepping back from most bare bones conceptions of relationship, the multiple operational loops of dynamic construal and “intra-enactive” responses come to be revealed. Who are you? It is the most penetrating question possible.

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Pre-Probe – Generating Paradox

Cross Format - Cube-O-Probe

Cross Format – Cube-O-Probe

Ken and I tossed the ‘Probe before our staff development moment at Wadsworth Public Library. It identified some factors to consider before our program. For example, Ken and I discussed how to keep the group coloring within the lines of our process for the sake of both clarity and effectiveness. It was good head’s up.

As a procedural heuristic device, the Cube-O-Probe sets a sunny top three cubes and a lunar bottom three cubes, with the two X-axis cubes mediating both above and below.

The above toss, spilled out prior to this afternoon’s program, is welcome as it suggests it would be wise to think about over-theorizing–going too far–in the direction of the normative theory in this afternoon’s virtual program (for the Experiential Learning Community of PracticeGenerating Paradox. Overt and Covert Polarities in David A. Kolb’s Experiential Learning Cycle.

The other half of the lunar side carries a more ominous hint upon which to reflect.

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Coincidentally Fragile

NWO-Serendipity

via Tom Woolley, Samson University

 

Confusions about probability cause probable errors. A possible conjunction supposes a chance of eventuation and has a chance of happening, yet after it has happened its chances of happening collapse to unity by virtue of the happening having occurred.

If/When
When Jesus is Lord of your life, there are no coincidences. Dick Luchtenberg, Journey to Freedom

“There are no coincidences in life.” Glenn Beck

“It is my purpose to show that it is logically impossible to ascribe any power to chance whatever… If chance exists in its frailest possible form, God is finished… If chance exists in any size, shape or form, God cannot exist.” R.C. Sproul. 1994. Not a Chance: The Myth of Chance in Modern Science and Cosmology

“If one likes one could ascribe this randomness to God, but it would be a very strange kind of intervention: there is no evidence that it was directed toward any purpose. Indeed if it were, it would, by definition not be random.” Stephen Hawking

Time to consult the Cube-O-Probe. Probe, in what direction might fruitful territory be discovered for further investigation of the aspects of coincidence and a priori requisite in the quiddity of eventuation?

probe

Comment: The Probe suggests an obvious investigatory dialectical vector between the practical consideration of the marriage of the apparently opposite chance and foreordained, with the completely knotty problem of seeking essential morality within this same interplay. Here also is the ping-ponging between theological and Newtonian determinism, and maybe this could give into finding dual forms for morality. Once again the Cube-O-Probe charts the way!

 

clown-probe

 

Doxastic commitment, or “soul in the game”: You can only believe predictions and opinions by those who committed themselves to a certain belief, and had something to lose, in a way to pay a cost in being wrong. Nassim Taleb (from the Anti-Fragile Glossary)

“The general principle of antifragility, it is much better to do things you cannot explain than explain things you cannot do.” – Nassim Taleb

coincidence (OED)

[a. F. coïncidence, L. type *coincidentia: see coincident and -ence.]

1. a.1.a The fact or condition of being coincident; the occupation of the same place or part of space.

1626 Bacon Sylva (1677) §224 There can be no Coincidence in the eye, or Visual Point.    1715 Cheyne Philos. Prin. Relig. (J.), The coincidence of the planes of this rotation with one another, and with the plane of the ecliptick.    1831 Brewster Newton I. x. 222 The singleness of the picture arises from the coincidence of the two pictures.    1870 R. M. Ferguson Electr. 33 This want of coincidence of the points of vertical dip and of maximum intensity.

fig. or transf.    1650 Fuller Pisgah v ii. §5 By a casuall coincidence some straggling words of the Athenians may meet in the mouths of the veriest Barbarians.    1847 Emerson Repr. Men, Plato Wks. I. 304 The rare coincidence, in one ugly body, of the droll and the martyr.

b.1.b (with pl.) A case of coincidence.

1837 Whewell Hist. Induc. Sci. (1857) I. 153 The method of making visual coincidences.    1880 Adams in Times 28 Dec. 10/2 The new line-spectra, the real basic lines of those substances which show coincidences.

2.2 Occurrence or existence at the same time; simultaneous occurrence or existence.

1650 Fuller Pisgah iii. iii. §8 There might be a casuall coincidence of this feast and his presence at Jerusalem.    1681 More Expos. Daniel 257 There is a Coincidence, at least of time.    1722 Susanna Wesley in Eliza Clarke Life (1886) 130 There hardly ever was a greater coincidence of unprosperous events in one family.    1837 H. Martineau Soc. Amer. III. 297 A happy coincidence of outward plenty with liberal institutions.    1878 Huxley Physiogr. xx. 342 The coincidence of twelve by the clock with noon by the sun-dial?is exact only four times in the year.

3. a.3.a Exact agreement or correspondence in substance, nature, character, etc.

1605 Bacon Adv. Learn. ii. v. §3 Is there not a true coincidence between commutative and distributive justice, and arithmetical and geometrical proportion?    a?1716 South Serm. VII. v. (R.), Those who discourse metaphysically of the nature of truth?affirm a perfect coincidence between truth and goodness.    1831 Brewster Newton (1855) II. xxiv. 352 The coincidence of the religious views of Sir Isaac Newton with those of John Locke.    1876 Grote Eth. Fragm. iii. 58 These two ends of action are sometimes found in conflict, but more frequently in coincidence.

b.3.b (with pl.) An instance of such agreement or correspondence.

a?1661 Fuller Worthies (1840) I. 201 A local coincidence, which?cannot be paralleled.    1736 Butler Anal. ii. vii. 356 Evidence arising from various coincidences.    1790 Paley Horæ Paul. Rom. ii. 13 Such coincidences may fairly be stated as undesigned.    1867 Freeman Norm. Conq. (1876) I. App. 724 A remarkable series of undesigned coincidences in favour of the belief.

4.4 A notable concurrence of events or circumstances having no apparent causal connexion.

a?1682 Sir T. Browne Let. to Friend (Camelot ed.) 185 That he should also take King Francis prisoner upon that day [of his nativity], was an unexpected coincidence.    1821 De Quincey Confess. Wks. 1863 I. 96, I felt it at the time?as a singular coincidence, that twice, etc.    1823 Byron Juan vi. lxxviii, A ‘strange coincidence,’ to use a phrase By which such things are settled now-a-days.    1829 Scott Guy M. Introd., The fact, if truly reported, is one of those singular coincidences which occasionally appear.    1865 Livingstone Zambesi xix. 378 It might be only a coincidence.

5.5 Of persons: Agreement or concurrence (in opinion or sentiment).

1795 Hull Advertiser 28 Nov. 3/1 Mr. Sturt?expressed his co-incidence with the sentiments of [the Petition].    1800 Wellington in Owen Disp. 647 You are already apprized of my entire coincidence in your opinion.    1800 Syd. Smith Six Serm. 60 A modest coincidence with received opinions above our faculties.

†6.6 Falling together, conjunction blending. Obs.

c?1645 Howell Lett. (1650) II. 88 The Latine tongue, with the coincidence of the Goths language and other northern peeple.

7. a.7.a Physics. The indication of the occurrence of ionizing particles in two or more detectors simultaneously (see quot. 1958). Also attrib. Cf. anti-coincidence.

1930 Physical Rev. XXXV. 651/2 Enormously increased resolving power can be obtained by the requirement of multiple instead of paired coincidences. The attainment of very great freedom from accidental coincidences is of greatest importance [etc.].    Ibid. 652/1 Automatic recording of the amount of the penetrating radiation coming from particular areas of the sky, using two tube-counters and a special ‘coincidence circuit’.    1938 R. W. Lawson tr. Hevesy & Paneth’s Man. Radioactivity (ed. 2) xxv. 280 Insertion of sheets of lead between the counters only slightly diminishes the number of simultaneous discharges (coincidences), and this proves that we are here confronted?with cosmic rays.    1940, etc. [see anti-coincidence].    1958 Van Nostrand’s Sci. Encycl. (ed. 3) 369/1 A true coincidence is one that is due to the detection of a single particle or of several genetically related particles. An accidental, chance, or random coincidence is one that is due to the fortuitous occurrence of unrelated counts in the separate detectors.

b.7.b Computers. Equivalent signals received simultaneously in an electronic circuit; the reception of such signals. Also attrib.

1947 Rev. Sci. Instruments XVIII. 907/1 In order to reduce chance coincidences to a minimum, it is necessary to use a coincidence circuit.    1948 Ibid. XIX. 565/2 Methods can be found for modulating one of the E.M.T.’s?so that the E.M.T.’s themselves form a coincidence or anticoincidence system.    1950 C. B. Tompkins et al. High-Speed Computing Devices iv. 37 An electronic gate is a circuit with a single output and two (or more) inputs so designed that an output signal is produced when, and only when, input signals are received on both (or on a particular set of) input leads. Such circuits are variously known as gates, coincidence circuits, Rossi circuits, or logical and circuits.    1953 A. D. & K. H. V. Booth Automatic Digital Calculators xi. 111 Coincidence sensers. In computing machine design it is frequently necessary to have available means for ascertaining the identity of two quantities.    1964 M. J. Pedelty in Tou & Wilcox Computer Sci. x. 248 The essence of the system?is that signals are ‘broadcast’ on a ‘to-whom-it-may-concern’ basis. Coincidence gates and delays can then be used to detect certain pulse patterns from the ‘broadcast alphabet’.

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Maslow + Cube-O-Probe Mashup

MaslowC-o-P

Right hand column is what I term a totem. Cube were randomly drawn in a bottom-to-top order. The cubes were next placed against the basic classes of Maslow’s Hierarchy of Needs. This creates novel, and other types, of pairings.

Question 1: what kind of pairs are these kinds of pairs?

Question 2: what does each pair assert?

Bonus Question: What potential for learning is neuro-phenomenologically encoded in pairs–such as, these kinds of pairs? Simple version of this question; What are the ways we may get at the assertions of each pair?
note to self:
Coupling
Congruent Pair
Incongruent Pair
Novel Pair
Dynamic Pair
Significant Pair
Dichotomy
Opposite
Polarity
Pure Dialectic
Spiral Dialectic
Transitive Dialectic
Replacement Dialectic
Modal Dialectic
Abductive Dialectic
Ecstatic Dialectic

 

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As Below, So Above

epiphanium

My essay, Liberating the Stars From Space & Timewhen completed. will complete the narrative concerned with how I came to necessarily etch a limit to my philosophical ability, and, in doing so, squish thousands of years of astrology into tools able to exist in my flatland.

These tools do not either make predictions or anchor person and possibility to a priori requisites. On the other hand, in future experimental philosophical research, I will attempt to show to some greater degree how these flatlander’s astro-psychological tools connect up with other over-arching concerns of mine, serendipity in adult development, the praxis of polarity and paradox, and the ‘action’ pragmatics given in the third order human/social cybernetics.

Until this essay is ready-to-roll, there’s a new page here that skates over the surface of my promethean poke, Cybernetic Liberation of Astrology.

zodiac_young_anim

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