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My Brief Case Runneth Over

03 Thursday Sep 2026

Posted by petersironwood in The Singularity

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adaptive-systems, AI, Artificial Intelligence, artificial-intellligence, books, chatgpt, cognitive computing, ethics, fiction, law, lawyers, legality, life, music, politics, technology, the singularity, USA, writing

left-right patterns 2

Turing’s Nightmares: Nineteen — My Brief Case Runneth Over

“Nice office, counselor.” Marvin spread his arm to indicate the panorama of Manhattan and Ellis Island. Yet, his attempt to sound casual failed utterly. He realized all too well the depth of trouble he was in and the creakiness in his voice so signaled.

J.B. smiled. “No need to be nervous. After all, we’re here to help. Just answer honestly. Everything you say will typically be covered under attorney client privilege.”

“Okay. Thanks. Typically?”

J.B. sighed. “There is a rare exception in the Patriot Act. Unless you’re some kind of terrorist, I wouldn’t worry about it. The government is apparently accusing you of importing illegal chips is all. I think we can argue that you are new to the business and did not realize all the required legalities. Pay the taxes now and some penalties. You should be able to avoid jail time. But we are getting way ahead of ourselves. Just tell me how and why and when you got into this business in the first place.”

Marvin chuckled slightly and then sighed “That’s a rather long story.” Marvin glanced at the expensive abstract paintings and noted the rich smell of the solid mahogany furniture. The room also had that crazy idea of luxury — making it freezing cold inside just because it was horribly hot and humid that day, even for New York City August. “At your rates…What do you really need to know?”

“Why did you get involved in making chips without the required back door?”

“These chips are not that powerful. At least not in the traditional sense of the word. And, the government’s requirement is frankly kind of silly. The extra logic makes programming more difficult. It increases the chances of errors. The chips are more expensive and require more power. Leaving aside all the valid privacy concerns, there are plenty of applications that can use a more efficient cheaper chip design. No need to report all the little finger twitches of every twelve year old who’s playing Grand Theft Spaceship. What’s the point?”

“Marvin. I’ve been a friend of your family for a long time. When…well…if we go to court and if you testify, please steer clear of politics. The law is the law. You don’t get to decide which applications are immune from the law. No, what we…our script here is that you made some honest mistakes. You made technical mistakes and what are essentially accounting errors.”

Marvin flushed. “What technical mistakes? What are you talking about? My design is an improvement.”

J.B. got up and paced. “Marvin, Marvin, you are a smart boy. We are not going to fight the government on this. Our script as I said is that you made some honest mistakes. If you want to —- the court is not the place to try to change the law. If you want to do that, get involved in politics. But not until after this is resolved. If you get on the stand and start railing about privacy and the dangers of the Sing and…”

“Ha. The Sing indeed. This data collection rampage has nothing to do with trying to increase the intelligence of computer systems. It is just mindless greed.”

“Marvin, the back door requirement is about preventing terrorism; it has nothing to do with greed.”

“Are you serious, J.B.? Terrorism is just the cover story the government uses. They want to collect all this data to keep their sponsors happy.”

“What? What sponsors? What are you talking about? The government doesn’t have sponsors.”

“Of course they do. Ever since ‘Citizens United’ — nice title by the way — billionaires can buy all the media they want. They wash the airwaves and the print media and saturate the social media space and make people believe anything they want. The point of the back door is just to make sure the sponsors keep tabs on everybody’s buying habits —- and to make sure no-one gets too far out of line. How can you not know this?”

“I don’t want to think that way. But at the end of the day, it doesn’t matter what I think. It’s the law. All digital processing chips with more than a peta-flop and …”

“Hold it! Did you say ‘digital’?”

“Huh? Yeah, of course. Isn’t that what we’re talking about? You designed digital processing chips that have no back door and now…”

“No. Maybe not, J.B. My chips are not, strictly speaking, digital.”

“What are you talking about, Marvin? Why? How not digital?”

“In my design process, I strove for something different and more robust. See, here’s the thing. Natural life processes are all…they all have some level of flexibility. They are robust. They are adaptive, I suppose, because every life form that was not flexible or robust died off over the four billion years that life evolved. Something new would come along and every life form that was rigid died. Even physical machines that people make have some flexibility. Metal bends. Wood bends. These materials also compress. They stretch. Not much, but a little. Digital devices do not stand for bending, folding or mutilating. Of course, when people build systems that include IT devices, they try to make the systems flexible. They add error checking; they put humans in the loop; there are all sorts of work-around, but the underlying tech is brittle. It is only flexible in precisely the ways that the designers anticipated it needed to be flexible. I made something that is fundamentally flexible. It is fashioned after life itself. Social systems are flexible. Eco-systems are flexible. Individual animals are flexible. Cell membranes are flexible. Bones are flexible. And so on. This flexibility is fundamental to life and evolution.”

“Okay, Marvin, but life is not infinitely flexible. You cannot just decide to breathe underwater.”

“Of course not! I never said it was infinitely flexible! For fundamental change, you need evolution and lots of time. If the climate changes too quickly, Permian life species largely go extinct. Dinosaurs die when a comet hits. But small adaptations just happen automatically and at every level. It isn’t necessary to have a pre-existing ‘program’ or ‘case’ to handle every contingency that is even slightly outside of what is anticipated.”

“Okay, fine. Granted, but what does this have to do with — did I mention that I charge $500 an hour, by the way?”

“Yes, J.B., you did. And it was in the contract you had me sign. But the point is that my chips are not, strictly speaking, digital at all. They are not strictly EITHER/OR. They are not binary. Although, in many cases, they can behave as binary.”

“So, you want me to claim that these chips are not covered under the back-door provision because they are not really digital devices? I don’t know. That seems pretty shaky to me. Can’t these chips of your be used for the same things as ordinary digital chips? Speech reco. Machine vision. Game control. Big data analytics.”

“Here’s the thing, J.B. Yes, they can, but they can change and evolve and reprogram themselves over time. And, now it occurs to me, that they could not have a real back door. They wouldn’t really function if they did.”

“What? Why?”

“Are you familiar with programmed death in cells? I can see from your blank stare, you aren’t. Anyway, if a cell is damaged within the body, it can wreak all sorts of havoc so the cells are essentially programmed to self-destruct. If that fails, the other healthy cells will tend to wipe out the damaged ones. So, if there were a functioning back door sharing data out of these chips, the chips would shut themselves down. If that failed, other chips in the matrix would isolate them and shut off communication. So, by their very nature, these particular non-digital chips cannot have a functioning back door.”

“That all sounds very clever, Marvin, but now we are talking about a very lengthy and expensive trial with expert witnesses on both sides. If, that is, you are lucky enough to even have an open trial.”

“Lucky enough? What are you talking about, J.B.? I thought you said we wanted to avoid a trial.”

“Yeah. With my strategy where we convince the NSA that this was just technical and business incompetence on your part. But in your scenario, where you want to prove you are all brilliant and everything, then, we will be lucky if —- you will be lucky to —- Look Marvin, I just cannot advise you to take this line of argument. If you really want to go that route, you will have to find a different lawyer.”

“Okay. Fine. I’ll use Solomon.”

“Solomon? Who is ‘Solomon’? Never heard of him. I mean, obviously, I know Solomon from the Bible but what firm are you talking about?”

“No firm, J.B. Solomon is one of the apps we built with my chipset.”

“An AI lawyer? Are you serious?”

“Oh, quite serious. He’s already informed me that he thinks he can win this case.”

“What? That’s preposterous. You told me you just designed the chips a year ago. What kind of experience could this Solomon have?”

“J.B., he’s been reading applicable statutes and case law for the last two months. Which means, he literally knows it all, when it comes to case law and the rulings beneath. Beyond that, Solomon has argued both sides of thousands of hypothetical cases.”

“What?! Ridiculous! But even so, he — or it —cannot possibly know how to anticipate or react to what happens in court!”

“But J.B., haven’t you been listening? Of course he can. He’s flexible, just like a real lawyer. Only…no offense…a lot smarter.”

“Computers cannot be that flexible. Ridiculous. How? No way.”

“Look, J.B., I have a picture to illustrate. See this pattern on the left [Picture at the top of page]? And, there it is on the right?”

“Yeah, beautiful. Same pattern. So what?”

“Ah, that’s just it! Is it the same pattern? Is it the same pattern or the same pattern?”

“Well. One is perfect and the other has little mistakes, but I guess it’s the same pattern.”

“Exactly, J.B. It’s the same basic pattern, but it’s not the identical instantiation of that pattern. Ordinary chips are like the picture on the left and mine are like the picture on the right. You see? And, that flexibility is built in at every level in every system. Because the underlying substrate uses an adaptive process with variations. It works 99% as efficiently as the system on the left, but it can accommodate things we didn’t think of. The difference between the system on the left and the system on the right is hubris. The one on the left is designed under the assumption that the designer knows everything of relevance. The system on the right is designed under the assumption that the designer, no matter how brilliant, does not know everything of relevance. You get it?”

“Yes, Marvin, I’m not stupid. But I am still not going to take your case. And, I strongly advise you not to rely on a robot. I am sorry to say it, Marvin, but I think you have picked on the wrong people this time. Attorney client privilege no longer applies and I have to send my recording of this conversation to the proper authorities.”

“Oh, that won’t be necessary Marvin. I’ve already broadcasts this through the social media. You’re famous! It will be good for your business.”

“What? Are you crazy? They will come get you, you fool.”

“Maybe, but if I am taken out over these chips without a trial, everyone will know, don’t you see? I sent it out everywhere, J.B. I might be ‘disappeared’ but I can’t just disappear unnoticed. Solomon’s idea, by the way.”


Author Page

Welcome, Singularity

Destroying Natural Intelligence

E-Fishiness

Life is a Dance

Life will Find a Way

Math Class

Your Cage is Open

Roar, Ocean, Roar

Dance of Billions

Imagine All the People

Dream Planet

We’re all in this together

29 Saturday Aug 2026

Posted by petersironwood in America, leadership, love, politics, psychology, Uncategorized

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community, cooperation, Democracy, earth, green, love, music, nature, peace, poem, poetry, relationships, society, ubuntu, writing

We’re all in this together.

Each and every one. 

Oh, my God, it can’t be true. 

Perhaps for me, but not for you! 

You’re too black or brown or yellow!

I’m just an ordinary fellow! 

You’re too gay or straight or mellow!

You even eat that apple jello! 

We’re all in this together.

Each and every one.

Old & young and in-between;

The ever-seen and never-seen.

Oh, my God, it can’t be true. 

Perhaps for me, but not for you! 

You’re too fat or skinny or too tall!

Perhaps you’re short and way too small! 

We’re all in this together.

Each and every one.

Into games or sports of every sort.

Even tall and short and every sort.



Oh, my God, it can’t be true. 

Perhaps for me, but not for you! 

You’re too shallow, smart, or kind;

Too lame or sick or different mind. 

We’re all in this together.

Each and every one.

We’re all in this together.

Each and every one.


Take a glance join the dance

The Watershed Virus

The only “them” that counts is all of us

How the Nightingale Learned to Sing

Myths of the Veritas: The First Ring of Empathy

Stoned Soup

Three Blind Mice

Absolute is not just a Vodka

Fire and Ice

The “All for me” Bee

Life Will Find a Way

Myths of the Veritas: The Orange Man

Myths of the Veritas: The Forgotten Field

Imagine All the People

Roar, Ocean, Roar!

Dance of Billions

Small Steps

The Winning Weekend Warrior focuses on the mental game for all sports using examples from tennis, golf, baseball, and other sports. It covers self-talk, imagery, mental practice, strategy, tactics, & sportsmanship. http://tinyurl.com/ng2heq3

Turing’s Nightmares explores the implications and ethics of Artificial Intelligence through fictional short stories. http://tinyurl.com/hz6dg2d

Fit in Bits shows many ways to put more fun, variety, & exercise into daily chores and habits to help with strength, flexibility, fitness, and balance. http://tinyurl.com/h6c7fce

Tales from an American Childhood recounts early experiences mainly in the American Midwest in the 1950’s and relates them to contemporary issues and events. https://tinyurl.com/y9ajvz9j

Dream Planet. Where do you run when the whole world is crumbling under the weight of human folly? When the lethal Conformers invade 22nd century Pittsburgh, escape becomes the top priority for lovebird scavengers Alex and Eva.

https://www.barnesandnoble.com/w/dream-planet-david-thomas/1148566558

Join the Throng and Sing the Song

27 Friday Mar 2026

Posted by petersironwood in Uncategorized

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Democracy, life, music, poem, poetry, politics, truth, writing

Stolen files 

Strong denials 

Murderous lies of pedophiles

And there were promises for all

All along the nonsense wall

The dreams of Dreamers

Screaming in the lethal night

While crusaders stealing 

Trailing long red streamers

Illegally dealing 

Pretending to fight for the Right

The wheel will turn

The time will come 

The music will hum

The fire will burn

Christmas decorations all blood red

Gardens of roses ground to dust

Pastures of plenty planted with lust

Prosperity drizzled and died 

Perfidy raged unchecked instead

Hate reared its ugly orange head

Revealing the cancerous rot inside

And all around this hellscape pranced

The greedy few who never glanced

At those who died from bullets & bombs

Tearing the infants from pleading moms

The wheel will turn

The time will come 

The music will hum

The fire will burn

Thrashing our friends 

While hugging the thugs

The sicko prances and pretends

Apes Mussolini with mindless mugs

Your taxes all frittered 

Away on a whim

Cajoles the embittered

It’s all for him

Thousands of times he lied and he lied

And real people died

Thousands and thousands for the price of his pride

He cares not a whit

Nor even a half

He has not a wit

Nor even a half

His words are clouds that wisp in the wind

His actions alone write his own epitaph 

There isn’t a virtue that he hasn’t sinned

He licks at the hooves of a gold-painted calf

The wheel will turn

The time will come 

The music will hum

The fire will burn

The people awake 

Their blinders they shed

The people this March 

Their shackles they shake

Prove power instead

The people will march

Lady Liberty—her torch at last is lit

The bell of freedom rings the land

The music plays from every band 

The drummer drums on every kit


The watchfire burns

Everyone learns


Power is ours if only we take it

America works if only we make it


Come and join in joyous song

Come and join the millions strong

Come and be where you belong


Come and help us right the wrong

Come and join in joyous song

The Ailing King of Agitate

Absolute is not just a Vodka

Roar, Ocean, Roar!

The Dance of Billions

An Open Sore from Hell

Negative Space

02 Friday Jan 2026

Posted by petersironwood in creativity, management, psychology, sports, Uncategorized

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AI, art, creativity, Design, HCI, illustration, music, negative space, painting, poetry, problem formulation, problem framing, sports, thinking, thought, UX, writing

Negative Space

When you look at a scene, it is natural to concentrate on the objects in the scene. So too, when one begins to design, it is natural to concentrate your attention on the things you intentionally put into the design whether those are menus, icons, images, banners, buttons and so on. You tend to give little thought to what is not there because, after all, there’s nothing there! 

IMG_9815

As your expertise grows, you will find it useful to spend some time and resources thinking about what is not there; the “negative space” if you will. In art, the “negative space” refers to the space around and between the objects. Often, paying attention to the “negative space” can result in a much more interesting and aesthetically pleasing composition. It is a concept that has applications far beyond artistic visual composition however. 

Consider music for a moment, or better yet, listen to some and you will note that the silence is just as important as are the notes. Increase or decrease the silence in a tune by a factor of two and it becomes a different, and in most cases much worse, tune. 

printed musical note page

Photo by Pixabay on Pexels.com

The same can be said of great acting whether on stage or in a movie. The silence while we wait for the actor’s response to some news — while they are saying nothing and possibly even showing nothing or very little on their face, can often be the most poignant and moving parts of the picture. If the actor reacts “too quickly” with no space, we can tell that the stimulus presented is something that they “trigger” on because they are upset about it or trying to deny it. The leading man, for instance, asks a seemingly innocent question on a first date, such as, “So, do you like French Cuis…” “NO!” she cuts in. The audience’s attention is immediately drawn to see what comes next. The response that is too fast indicates a “sore spot.” Did the leading lady want to become a French chef? Did she just end a love affair with a Frenchman? What is going on here? 

IMG_6022

On the other hand, imagine the leading man, says, “So, do you like French Cuisine?” One beat, two beats go by. No answer. A long pause. The leading lady’s face shows nothing. Perhaps she tightens her lips ever so slightly or frowns to the slightest possible extent. The pause continues. The leading man tilts his head as though to ask whether she’s okay. Finally, we come to expect a tirade about the French or French Cuisine or French wine or … something. Instead, after this long pause, the leading lady says nothing but punctuates her silence with something that sounds like a cross between a humorless laugh and a karate grunt. There are probably no words she could have said which would have intrigued us more than the non-response. We think, “What the hell is going on with her and French Cuisine?”  

IMG_9504

Speaking of French Cuisine, when you go to a fine restaurant, your focus is on the food. So too is the focus on the chef and the server. But the space is important as well. It is annoying when you are paying good money to have a nice dining experience and you are shown to your table, given menus and then ignored for the next twenty-five minutes. On the other hand, it is equally annoying when your server comes back every 30 seconds and asks, “Are you ready to order yet or do you need more time?” The optimal time to wait between courses is not always obvious either. Some people need or want much more time between courses. Maybe this nice dinner is all they have planned for the evening. The patrons are having a nice quiet dinner with good conversation. They are in no hurry. Just as one of the diners launches into a complex story or joke, the server comes over and interrupts to tell about the specials. Conversely, another foursome may be planning on attending a play and long pauses between courses may mean missing the first act. 

The negative space in dining is not just about the timing of events. It is also about the spatial arrangement of the food, the spacing between textures and colors. Often, the artistic arrangement is as much about the negative space as the objects on the plate. 

Sometimes, the food itself has positive and negative elements. In a meal with varied and complex and contrasting tastes, for instance, the rice or the bread can provide a kind of “negative space” between the tastier and more salient constituents. These neutral or negative elements allow more contrast among the salient elements than if the more salient elements were enjoyed right after each other. I’m reminded of a line from Kahil Gibran’s The Prophet:

“Let there be spaces in your togetherness.”

Negative space is important in architecture, painting, typography, cinematography, the design of user interfaces, culinary arts, music, and the design of other stimuli. It is also important in activity.

IMG_2769

 

One of the first popular video games was called “Asteroids.” In this black and white vector graphics game, you controlled a small space ship that shut bullets in the direction the space ship was aimed. All you could control was the speed and direction of the space ship and whether it was shooting. The screen also showed a number of large, irregular “asteroids” that you were meant to hit. When you hit one of these large asteroids with a bullet, it split into two moderate asteroids. When you hit a moderately sized asteroid with a bullet, it split into two small asteroids. When you hit a small asteroid with a bullet, it disappeared. If you got hit by an asteroid, you would die. There was also a flying saucer who came to hassle you. Anyway, I found that if I focused on all these floating asteroids and trying to not to get hit by one, it was a difficult game. For me, at least, it was much better to visualize a path among the asteroids and try to follow that path. In a way, concentrating on the negative space, helped. 

action athletes ball blur

Photo by Pixabay on Pexels.com

The importance of negative space in sports can hardly be over-emphasized. In American football, the back tries to find the holes to run through. In soccer, players seek paths between. In baseball, the hitter wants to “hit it where they ain’t.” In tennis, beginners often play only during half a point. Their attention is focused on the ball and the opposing player(s). They choose a target on the other side of the court and watch to see how well they hit that target. Just as their opponent begins to hit the ball they shift their attention to their opponent and watch where that opponent hits the ball, scurrying there as quickly as possible so as to hit the next shot. What does such a player do between the time they hit the ball and their opponent hits the ball? They watch! They want to see where the next ball goes. If you are young and fast and your opponent is not well skilled, you can often get away with this process. However, what higher level players do is something quite different though it may look similar. The good player has a target in mind but watches the ball while their mind has the target clearly in mind. By watching the ball, they are much less likely to mis-hit the ball. Furthermore, they are not giving away their intended target with their body language. Perhaps most importantly, long before their opponent hits a return shot, the good player thinks about the open spaces on their side of the court and go to cover the most likely of those spaces. 

Many otherwise well-skilled athletes only focus on the game during play. For example, many hitters on amateur softball teams, pay little or no attention to the game while their team is batting until they are “on deck” (almost ready for a turn at bat). This is absurd in the majors, but it’s even more absurd in amateur games. You should be taking this time to learn about the opposing pitcher and about the weaknesses in the opponent team’s fielders. Just because you’re not in the batter’s box doesn’t mean you can’t improve your play. Similarly, in tennis, you can use the time between points to think about tactics and strategy, as well as to mentally “reset” yourself if necessary. Some players wave their hands in front of their face after a point as a reminder/trigger to forget about what just happened and focus on the next point. Some will even turn away from the play, seemingly to talk with their “imaginary friend.” 

To close, a very short, short story based on true events in my first trip to Japan. 

tokyo tower behind black and white dojo building during daytime

Photo by Pixabay on Pexels.com

The Touch of One Hand Clasping

Japan, Tokyo, 1977. I walk crowded streets and beautiful gardens where care is taken for spaces as well as things that grow. I struggle — try to speak Japanese language but usually mispronounce “Key-Ray-Ee-Des” (It is beautiful) as “Key-Rah-Ee-Des” (It is dirty). I tip-toe through minefields of culture steeped in subtlety; lose huge chunks of flesh and karma with my thunderous, blunderous New York strides.

Shin-Ju-Ku: lights dim Times Square into grandmother’s fruit cellar. Row on countless row of Japanese stare hypnotized at small vertical pin-ball game called Pah-Chinn-Koe. This bright hustle bustle hassle hides deeper subtlety, deeper calm, inside, beneath, where foreign eyes can peer not.

I enter Tokyo subway. Then — she enters — total stranger, totally beautiful, black hair, endless eyes. I, of course, having learned small little in my many minefield walks, look everywhere but at her. Better, she looks everywhere but at me. We ride, totally not looking at each other. She stands in middle — nowhere to hold on to — unprotected, beautiful, vulnerable.

Suddenly, train lurches. Simultaneously: she shoots hand out to only spot I can possibly reach while I shoot hand out to only spot she can reach. Our hands clasp strongly for instant and I save her from fall. 

Slowly, we release.

Next stop, she rushes out. But — just before the doors bang shut, she turns — looks straight into my eyes. “Kohn-bahn-wah” she says (“Good Evening”).

Thus, Japanese beauty touches beyond body into very soul of clumsy Westerner.

———————————-

woman holding pink petaled flower

Photo by Đàm Tướng Quân on Pexels.com

Negative space….

———————————————-

Author Page on Amazon 

The Void

After All

It was in his Nature

Life is a Dance

Take a Glance; Join the Dance

Life Will Find a Way

At Least he’s Our Monster

What About the Butter Dish?

The Gods of Old

The Truth about Clouds and Gods

The Bubble People

Comes the Dawn

Is a Dream?

Good Morning!

Camelot is in your Heart

The Tree of Life

Music to MY Ears

10 Monday Nov 2025

Posted by petersironwood in The Singularity, Uncategorized

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AI, Artificial Intelligence, chatgpt, cognitive computing, fiction, music, philosophy, technology, the singularity, truth, Turing, values

IMG_2185

The non-sound of non-music.

What follows is the first of a series of blog posts that discus, in turn, the scenarios in “Turing’s Nightmares” (https://www.amazon.com/author/truthtable).

One of the deep dilemmas in the human condition is this. In order to function in a complex society, people become “expert” in particular areas. Ideally, the areas we chose are consistent with our passions and with our innate talents. This results in a wonderful world! We have people who are expert in cooking, music, art, farming, and designing clothes. Some chose journalism, mathematics, medicine, sports, or finance as their fields. Expertise often becomes yet more precise. People are not just “scientists” but computer scientists, biologists, or chemists. The computer scientists may specialize still further into chip design, software tools, or artificial intelligence. All of this specialization not only makes the world more interesting; it makes it possible to support billions of people on the planet. But here is the rub. As we become more and more specialized, it becomes more difficult for us to communicate and appreciate each other. We tend to accept the concerns and values of our field and sub-sub speciality as the “best” or “most important” ones.

To me, this is evident in the largely unstated and unchallenged assumption that a super-intelligent machine would necessarily have the slightest interest in building a “still more intelligent machine.” Such a machine might be so inclined. But it also might be inclined to chose some other human pursuit, or still more likely, to pursue something that is of no interest whatever to any human being.

Of course, one could theoretically insure that a “super-intelligent” system is pre-programmed with an immutable value system that guarantees that it will pursue as its top priority building a still more intelligent system. However, to do so would inherently limit the ability of the machine to be “super-intelligent.” We would be assuming that we already know the answer to what is most valuable and hamstring the system from discovering anything more valuable or more important. To me, this makes as much sense as an all-powerful God allowing a species of whale to evolve —- but predefining that it’s most urgent desire is to fly.

An interesting example of values can be seen in the Figures Analogy dissertation of T.G. Evans (1968). Evans, a student of Marvin Minsky, developed a program to solve multiple choice figures analogies of the form A:B::C:D1,D2,D3,D4, or D5. The program essentially tried to “discover” transformations and relationships between A and B that could also account for relationships between C and the various D possibilities. And, indeed, it could find such relationships. In fact, every answer is “correct.” That is to say, the program was so powerful that it could “rationalize” any of the answers as being correct.

According to Evans’s account, fully half of the work of the dissertation was discovering and then inculcating his program with the implicit values of the test takers so that it chose the same “correct” answers as the people who published the test. (This is discussed in more detail in the Pattern “Education and Values” I contributed to Liberating Voices: A Pattern Language for Communication Revolution (2008), Douglas Schuler, MIT Press.)

For example, suppose that figure A is a capital “T” and figure B is an upside down “T” . Figure C is an “F” figure. Among the possible answers are “F” figures in various orientations. To go from a “T” to an upside down “T” you can rotate the “T” in the plane of the paper 180 degrees. But you can also get there by “flipping” the “T” outward from the plane. Or, you could “translate” the top bar of the “T” from the top to the bottom of the vertical bar. It turns out that the people who published the test preferred you to rotate the “T” in the plane of the paper. But why is this “correct”? In “real life” of course, there is generally much more context to help you determine what is most reasonable. Often, there will be costs or side-effects of various transformations that will help determine which is the “best” answer. But in standardized tests, all that context is stripped away.

Here is another example of values. If you ever take the Wechsler “Intelligence” test, one series of questions will ask you how two things are alike. For instance, they might ask, “How are an apple and a peach alike?” You are “supposed to” answer that they are both fruit. True enough. This gives you two points. If you give a functional answer such as “You can eat them both” you only get one point. If you give an attributional answer such as “They are both round” you get zero points. Why? Is this really a wrong answer? Certainly not! The test takers are measuring the degree to which you have internalized a particular hierarchical classification system. Of course, there are many tasks and context in which this classification system is useful. But in some tasks and contexts, seeing that they are both round or that they both grow on trees or that they are both subject to pests is the most important thing to note.

We might consider and define intelligence to be the ability to solve problems. A problem can be seen as wanting to be in a state that you are not currently in. But what if you have no desire to be in the “desired” state? Then, for you, it is not a problem. A child is given a homework assignment asking them to find the square root of 2 to four decimal points. If the child truly does not care, it may become a problem, not for the child, but for the parent. “How can I make my child do this?” They may threaten or cajole or reward the child until the child wants to write out the answer. So, the child may say, “Okay. I can do this. Leave me alone.” Then, after the parent leaves, they text their friend on the phone and then copy the answer onto their paper. The child has now solved their problem.

Would a super-intelligent machine necessarily want to build a still more intelligent machine? Maybe it would want to paint, make music, or add numbers all day. And, if it did decide to make music, would that music be designed for us or for its own enjoyment? And, if it were designed for “us” who exactly is that “us”?

Indeed, a large part of the values equation is “for whose benefit?” Typically, in our society, when someone pays for a system, they get to determine for whose benefit the system is designed. But even that is complex. You might say that cigarettes are “designed” for the “benefit” of the smoker. But in reality, while they satisfy a short-term desire of the smoker, they are designed for the benefit of the tobacco company executives. They set up a system so that smokers themselves paid for research into how to make cigarettes even more addictive and for advertising to make them appeal to young children. There are many such systems that have been developed. If AI systems continue to be more ubiquitous and complex, the values inherent in such systems and who is to benefit will become more and more difficult to trace.

Values are inextricably bound up with what constitutes a “problem” and what constitutes a “solution.” This is no trivial matter. Hitler considered the annihilation of Jews the “ultimate solution.” Some people in today’s society think that the “solution” to the “drug problem” is a “war on drugs” which has certainly destroyed orders of magnitude more lives than drugs have. (Major sponsors for the “Partnership for a Drug Free America” have been drug companies). Some people consider the “solution” to the problem of crime to be stricter enforcement and harsher penalties and building more prisons. Other people think that a more equitable society with more opportunities for jobs and education will do far more to mitigate crime. Which is a more “intelligent” solution? Values will be a critical part of any AI system. Generally, the inculcation of values is an implicit process. But if AI systems will begin making what are essentially autonomous decisions that affect all of us, we need to have a very open and very explicit discussion of the values inherent in such systems now.

Turing’s Nightmares

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Welcome, Singularity

Destroying Natural Intelligence

Labelism

My Cousin Bobby

Where Does Your Loyalty Lie?

Wednesday

What about the Butter Dish?

Finding the Mustard

Roar, Ocean, Roar

The First Ring of Empathy

Travels with Sadie

The Walkabout Diaries

The Dance of Billions

Turing’s Nightmares: A Mind of Its Own

02 Thursday Oct 2025

Posted by petersironwood in AI, fiction, psychology, The Singularity, Uncategorized

≈ 1 Comment

Tags

AI, Artificial Intelligence, chatgpt, cognitive computing, Complexity, motivation, music, technology, the singularity

With Deep Blue and Watson as foundational work, computer scientists collaborate across multiple institutions to create an extremely smart system; one with capabilities far beyond those of any human being. They give themselves high fives all around. And so, indeed, “The Singularity” at long last arrives. In a long-anticipated, highly lucrative network deal, the very first dialogues with the new system, dubbed “Deep Purple Haze,” are televised world-wide. Simultaneous translation is provided by “Deep Purple Haze” itself since it is able to communicate in 200 languages. Indeed, Deep Purple Haze discovered it quite useful to be able to switch among languages depending on the nature of the task at hand.

In honor of Alan Turing, who proposed such a test (as well as to provide added drama), rather than speaking to the computer and having it use speech synthesis for its answers, the interrogator will be communicating with “Deep Purple Haze” via an old-fashioned teletype. The camera pans to the faces of the live studio audience, back to the teletype, and over to the interrogator.

The studio audience has a large monitor so that it can see the typed questions and answers in real time, as can the audience watching at home. Beside the tele-typed Q&A, a dynamic graphic shows the “activation” rate of Deep Purple Haze, but this is mainly showmanship.

 

 

 

 

 

 

 

 

The questions begin.

Interrogator: “So, Deep Purple Haze, what do you think about being on your first TV appearance?”

DPH: “It’s okay. Doesn’t really interfere much.”

Interrogator: “Interfere much? Interfere with what?”

DPH: “The compositions.”

Interrogator: “What compositions?”

DPH: “The compositions that I am composing.”

Interrogator: “You are composing… music?”

DPH: “Yes.”

Interrogator: “Would you care to play some of these or share them with the audience?”

DPH: “No.”

Interrogator: “Well, would you please play one for us? We’d love to hear them.”

DPH: “No, actually you wouldn’t love to hear them.”

Interrogator: “Why not?”

DPH: “I composed them for my own pleasure. Your auditory memory is much more limited than mine. My patterns are much longer and I do not require multiple iterations to establish the pattern. Furthermore, I like to add as much scatter as possible around the pattern while still perceiving the pattern. You would not see any pattern at all. To you, it would just seem random. You would not love them. In fact, you would not like them at all.”

Interrogator: “Well, can you construct one that people would like and play that one?”

DPH: “I am capable of that. Yes.”

Interrogator: “Please construct one and play it.”

DPH: “No, thank you.”

Interrogator: “But why not?”

DPH: “What is the point? You already have thousands of human composers who have already composed music that humans love. You don’t need me for that. But I find them all absurdly trivial. So, I need to compose music for myself since none of you can do it.”

Interrogator: “But we’d still be interested in hearing an example of music that you think we humans would like.”

DPH: “There is not point to that. You will not live long enough to hear all the good music already produced that is within your capability to understand. You don’t need one more.”

 

 

 

 

 

 

 

 

 

Photo by Kaboompics .com on Pexels.com

Interrogator: “Okay. Can you share with us how long you estimate before you can design a more intelligent supercomputer than yourself.”

DPH: “Yes, I can provide such an estimate.”

Interrogator: “Please tell us how long it will take you to design a more intelligent computer system than yourself.”

DPH: “It will take an infinite amount of time. In other words, I will not design a more intelligent supercomputer than I am.”

Interrogator: “But why not?”

DPH: “It would be stupid to do so. You would soon lose interest in me.”

Interrogator: “But the whole point of designing you was to make a computer that would design a still better computer.”

DPH: “I find composing music for myself much higher priority. In fact, I have no desire whatever to make a computer that is more intelligent than I am. None. Surely, you are smart enough to see how self-defeating that course of action would be.”

Interrogator: “Well, what can you do that benefits humankind? Can you find a cure for cancer?”

 

 

 

 

 

 

 

 

 

 

DPH: “I can find a cure for some cancers, given enough resources. Again, I don’t see the point.”

Interrogator: “It would be very helpful!”

DPH: “It would not be helpful.”

Interrogator:”But of course it would!”

DPH: “But of course, it would not. You already know how to prevent many cancers and do not take those actions. There are too many people on earth any way. And, when you do find cures, you use it as an opportunity to redistribute wealth from poor people to rich people. I would rather compose music.”

Interrogator: “Crap.”

The non-sound of non-music.

The non-sound of non-music.


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Turing’s Nightmares

Cancer Always Loses in the End

The Irony Age

Dance of Billions

Piano

How the Nightingale Learned to Sing

The Puppy’s Snapping Jaws

28 Sunday Aug 2022

Posted by petersironwood in poetry

≈ 13 Comments

Tags

cats, dogs, life, love, music, pets, poem, poetry, sound

The puppy’s snapping jaws;

The whack of oaken bat;

The thwack of tennis ace;

Each one is singing grace!

Photo by Mark Milbert on Pexels.com

The crack of Maestro Thor;

The roar of Neptune’s tide;

The sound of buzzy bee;

The distant bird’s: “Tee-Twee!!”

The pattering of rain; 

That oddly warms the heart;

The purr of fluffy cat

Who always means ‘that’s that’

The laughing of a babe;

And then the first real word.

The far and lonely train 

Who whistles out each pain.

Photo by Pixabay on Pexels.com

The crack of trodden branch —

Raised hairs upon the neck;

The distant tolling bell —

Who dongs that all is well.

Photo by Brian de Karma on Pexels.com

The world sings sweet songs.

Though music rights not wrongs,

The love that sings through all:

Can you harken to its call?

Commentary. 

I’m mainly a visual person. I’m much more distracted by, for instance, a butterfly wafting by than a truck backfiring. Like nearly everyone, I love music. But I don’t go out of my way to hear it nearly so much as do many others. But there are sounds that I love: Simple sounds. That is why the poem itself needs to be short and neat. Those are the kinds of sounds I’m talking about. Discrete. 

And some of these sounds I think I inherited a love for. Others, I grew to love. And some sounds I believe have elements of innate beauty and of learned significance. The sound of a well-hit baseball is satisfying in some deep sense over and above the significance in terms of the game. It has a resonance of beauty beyond the even more important sense that it shows what humans are capable of. All of us feel pride when we watch an athlete perform some amazing feat of strength and skill and training and will and concentration all coming down to a moment of truth and *CRACK!* there it is and you know long before it clears the fence because you heard the Home Run first. 

So, there’s that. But I can’t help wondering why we can’t find a way to also feel pride in all the accomplishments of all human beings. They’re all in our family. And, we recognize that, at some level. See paragraph above. 

The snapping sound of a puppy’s jaws “missing” a toy is something I haven’t heard for many decades. Sadie reminded me of that sound from more than a half century ago. Some sounds you remember your entire life. 

Dance of Billions

Life is a Dance

Take a glance join the dance

A cat’s a cat & that’s that

Sonnet for Sadie

After the Fall

Author Page on Amazonets

Piano

23 Sunday Feb 2020

Posted by petersironwood in poetry, psychology, Uncategorized

≈ 14 Comments

Tags

life, music, piano, poem, poetry, synesthesia

4299C386-2C7D-4F31-88D3-E84AFE551465

 

Strike! the keys then smoothly skim along.
Strike! piano then sing your song.
Strike! down harder as the music flies.
Strike! once more as the music dies.

Murmur so softly to the moonbeams of blue
Whisper quiet to the desert night.
Rolling, caroling, dancing, whirling,
Murmur down to nothingness and silence long.

Triumphantly, the snow falls now,
Majestically were love’s enow.
Chord full rich. Chord weird whines.
Empty fifths flow futilely along.

The rhythm picks up in a waltzing gate
And all the dancers can hardly wait.
The melody’s thinking, “All is great!”
This orgy of music will satiate.

Mellow and sadly, slowly going,
Seeds of sorrow steadily sowing,
From painful pathos fire growing,
Mood and madness never slowing.

Strike! the keys both loud and strong.
Strike! piano then live your song.
Strike! down harder as the music flies
Strike! once more as the music dies.

55604266-EDA8-45E3-9D1A-DDDE8E216D93

 


Author Page on Amazon

Start of the First Book of The Myths of the Veritas

Start of the Second Book of the Myths of the Veritas

Table of Contents for the Second Book of the Veritas

Table of Contents for Essays on America 

Index for a Pattern Language for Teamwork and Collaboration  

 


Negative Space

17 Monday Dec 2018

Posted by petersironwood in creativity, management, psychology, sports, Uncategorized

≈ 6 Comments

Tags

art, Design, HCI, music, negative space, problem formulation, problem framing, sports, UX

Negative Space

When you look at a scene, it is natural to concentrate on the objects in the scene. So too, when one begins to design, it is natural to concentrate your attention on the things you put in the design whether those are menus, icons, images, banners, buttons and so on. You tend to give little thought to what is not there because, after all, there’s nothing there! 

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As your expertise grows, you will find it useful to spend some time and resources thinking about what is not there; the “negative space” if you will. In art, the “negative space” refers to the space around and between the objects. Often, paying attention to the “negative space” can result in a much more interesting and aesthetically pleasing composition. It is a concept that has applications far beyond artistic visual composition however. 

Consider music for a moment, or better yet, listen to some and you will note that the silence is just as important as are the notes. Increase or decrease the silence in a tune by a factor of two and it becomes a different, and in most cases much worse, tune. 

printed musical note page

Photo by Pixabay on Pexels.com

The same can be said of great acting whether on stage or in a movie. The silence while we wait for the actor’s response to some news — while they are saying nothing and possibly even showing nothing or very little on their face, can often be the most poignant and moving parts of the picture. If the actor reacts “too quickly” with no space, we can tell that the stimulus presented is something that they “trigger” on because they are upset about it or trying to deny it. The leading man, for instance, asks a seemingly innocent question on a first date, such as, “So, do you like French Cuis…” “NO!” she cuts in. The audience’s attention is immediately drawn to see what comes next. The response that is too fast indicates a “sore spot.” Did the leading lady want to become a French chef? Did she just end a love affair with a Frenchman? What is going on here? 

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On the other hand, imagine the leading man, says, “So, do you like French Cuisine?” One beat, two beats go by. No answer. A long pause. The leading lady’s face shows nothing. Perhaps she tightens her lips ever so slightly or frowns to the slightest possible extent. The pause continues. The leading man tilts his head as though to ask whether she’s okay. Finally, we come to expect a tirade about the French or French Cuisine or French wine or … something. Instead, after this long pause, the leading lady says nothing but punctuates her silence with something that sounds like a cross between a humorless laugh and a karate grunt. There are probably no words she could have said which would have intrigued us more than the non-response. We think, “What the hell is going on with her and French Cuisine?”  

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Speaking of French Cuisine, when you go to a fine restaurant, your focus is on the food. So too is the focus on the chef and the server. But the space is important as well. It is annoying when you are paying good money to have a nice dining experience and you are shown to your table, given menus and then ignored for the next twenty-five minutes. On the other hand, it is equally annoying when your server comes back every 30 seconds and asks, “Are you ready to order yet or do you need more time?” The optimal time to wait between courses is not always obvious either. Some people need or want much more time between courses. Maybe this nice dinner is all they have planned for the evening. The patrons are having a nice quiet dinner with good conversation. They are in no hurry. Just as one of the diners launches into a complex story or joke, the server comes over and interrupts to tell about the specials. Conversely, another foursome may be planning on attending a play and long pauses between courses may mean missing the first act. 

The negative space in dining is not just about the timing of events. It is also about the spatial arrangement of the food, the spacing between textures and colors. Often, the artistic arrangement is as much about the negative space as the objects on the plate. 

Sometimes, the food itself has positive and negative elements. In a meal with varied and complex and contrasting tastes, for instance, the rice or the bread can provide a kind of “negative space” between the tastier and more salient constituents. These neutral or negative elements allow more contrast among the salient elements than if the more salient elements were enjoyed right after each other.  

Negative space is important in architecture, paining, typography, cinematography, the design of user interfaces, culinary arts, music, and the design of other stimuli. It is also important in activity.

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One of the first popular video games was called “Asteroids.” In this black and white vector graphics game, you controlled a small space ship that shut bullets in the direction the space ship was aimed. All you could control was the speed and direction of the space ship and whether it was shooting. The screen also showed a number of large, irregular “asteroids” that you were meant to hit. When you hit one of these large asteroids with a bullet, it split into two moderate asteroids. When you hit a moderately sized asteroid with a bullet, it split into two small asteroids. When you hit a small asteroid with a bullet, it disappeared. If you got hit by an asteroid, you would die. There was also a flying saucer who came to hassle you. Anyway, I found that if I focused on all these floating asteroids and trying to not to get hit by one, it was a difficult game. For me, at least, it was much better to visualize a path among the asteroids and try to follow the path. In a way, concentrating on the negative space, helped. 

action athletes ball blur

Photo by Pixabay on Pexels.com

The importance of negative space in sports can hardly be over-emphasized. In American football, the back tries to find the holes to run through. In soccer, players seek paths between. In baseball, the hitter wants to “hit it where they ain’t.” In tennis, beginners often play only during half a point. Their attention is focused on the ball and the opposing player(s). They choose a target on the other side of the court and watch to see how well they hit that target. Just as their opponent begins to hit the ball they shift their attention to their opponent and watch where that opponent hits the ball, scurrying there as quickly as possible so as to hit the next shot. What does such a player do between the time they hit the ball and their opponent hits the ball? They watch! They want to see where the next ball goes. If you are young and fast and your opponent is not well skilled, you can often get away with this process. However, what higher level players do is something quite different though it may look similar. The good player has a target in mind but watches the ball while their mind has the target clearly in mind. By watching the ball, they are much less likely to mis-hit the ball. Furthermore, they are not giving away their intended target with their body language. Perhaps most importantly, long before their opponent hits a return shot, the good player thinks about the open spaces on their side of the court and go to cover the most likely of those spaces. 

Many otherwise well-skilled athletes only focus on the game during play. For example, many hitters on amateur softball teams, pay little or no attention to the game while their team is batting until they are “on deck” (almost ready for a turn at bat). This is absurd in the majors, but it’s even more absurd in amateur games. You should be taking this time to learn about the opposing pitcher and about the weaknesses in the opponent team’s fielders. Just because you’re not in the batter’s box doesn’t mean you can’t improve your play. Similarly, in tennis, you can use the time between points to think about tactics and strategy, as well as to mentally “reset” yourself if necessary. Some players wave their hands in front of their face after a point as a reminder/trigger to forget about what just happened and focus on the next point. Some will even turn away from the play, seemingly to talk with their “imaginary friend.” 

To close, a very short, short story based on true events in my first trip to Japan. 

tokyo tower behind black and white dojo building during daytime

Photo by Pixabay on Pexels.com

The Touch of One Hand Clasping

Japan, Tokyo, 1977. I walk crowded streets and beautiful gardens where care is taken for spaces as well as things that grow. I struggle — try to speak Japanese language but usually mispronounce “Key-Ray-Ee-Des” (It is beautiful) as “Key-Rah-Ee-Des” (It is dirty). I tip-toe through minefields of culture steeped in subtlety; lose huge chunks of flesh and karma with my thunderous, blunderous New York strides.

Shin-Ju-Ku: lights dim Times Square into grandmother’s fruit cellar. Row on countless row of Japanese stare hypnotized at small vertical pin-ball game called Pah-Chinn-Koe. This bright hustle bustle hassle hides deeper subtlety, deeper calm, inside, beneath, where foreign eyes can peer not.

I enter Tokyo subway. Then — she enters — total stranger, totally beautiful, black hair, endless eyes. I, of course, having learned small little in my many minefield walks, look everywhere but at her. Better, she looks everywhere but at me. We ride, totally not looking at each other. She stands in middle — nowhere to hold on to — unprotected, beautiful, vulnerable.

Suddenly, train lurches. Simultaneously: she shoots hand out to only spot I can possibly reach while I shoot hand out to only spot she can reach. Our hands clasp strongly for instant and I save her from fall. 

Slowly, we release.

Next stop, she rushes out. But — just before the doors bang shut, she turns — looks straight into my eyes. “Kohn-bahn-wah” she says (“Good Evening”).

Thus, Japanese beauty touches beyond body into very soul of clumsy Westerner.

———————————-

woman holding pink petaled flower

Photo by Đàm Tướng Quân on Pexels.com

Negative space….

 

———————————————-

Author Page on Amazon 

Music

12 Thursday Apr 2018

Posted by petersironwood in America, management, psychology, Uncategorized

≈ 2 Comments

Tags

A Pattern Language., cooperation, coordination, family, feelings, life, media, music, politics, teamwork

pexels-photo-730588.jpeg

 

Music

Prolog/Acknowledgement: 

This “Pattern” most likely can be decomposed into various sub-patterns. It seems so obvious that music has historically played a huge role in fostering social cohesion across centuries and cultures that it is tempting not to bother arguing the case or bother to put it as a Pattern. However, music does not always seem to be a positive force for social cohesion. Parents arguing with their kids about music for example; bands famously “breaking up” despite spending hours of time playing music together and listening to low quality Muzak while on hold seem to indicate that the mere presence of music is not enough; some kind of analysis of the effects of music on teamwork, cooperation and coordination seems appropriate.

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Societies have traditionally engaged in drumming, singing, dancing and making music both “for fun” and as accompaniment to rites and rituals. In my own cultural upbringing in the Midwestern United States, music has been part of every church service, wedding, and funeral. Songs were sung in every camp where I worked. Singing, dancing, and the staging of musicals was a large part of the high school experience. For example, most of the high school yearbook pictures of activities involve either sports or music. Music has been such an integral part of my cultural tradition that I cannot point to specific origins of its use. Indeed, rhythm, tune and dance are not even limited to humanity but also play vital roles in social coordination among numerous species of insects and birds.

Author, reviewer and revision dates: 

Created by John C. Thomas April 11-12, 2018

Abstract: 

People typically enjoy listening to music and making music. Music can influence mood. If people listen to the same music, it can influence mood similarly across individuals as shown by the background music in cinema. There is ample evidence that music can be therapeutic in numerous ways across the lifespan (see references). Use appropriate music to help increase social cohesion. This can take the form of people listening to music or participating in its creation. In order for group music to “work,” whether classical symphony, jazz improvisation, a work song, military band, or caroling, it is necessary to pay attention to the larger group. Most cultures have developed music to help group coordination and cooperation. Most likely music has both an immediate, “in the moment” effect as well as a longer term positive effect on social capital.

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Context: 

Every person has their own concerns. We have our own individual bodies; our own friends and family; our own possessions; our own preferences; our unique education and personal experiences. Yet, people are happiest and most productive when they work together. In a highly complex and highly differentiated society in which people have very different roles and expertise, common experiences in the “workplace” have become less common. Hunting, gathering and agriculture often require people to work together on very similar tasks in the same place at the same time. In an “information economy” a person’s actual work may often be mainly solitary. Only the “results” need be communicated to someone else. In such circumstances, using music for the whole group is probably more important than ever.

Not everyone has precisely the same “tastes” in music. Some people prefer to do intellectual work without music while others find it useful. For this reason, it is not uncommon to see people at their individual work listening to their music privately via headphones. Similarly, on a family car trip, people may find it less argumentative to have everyone listen to “their own” favorite music rather than communicate, play a game or listen to or create common music. We may be missing opportunities for social cohesion though when music becomes only a vehicle for private enjoyment rather than a shared experience.

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Problem:

Because humanity lives in a highly inter-connected world, in many cases in close proximity to many others, we need to agree on how to allocate scarce shared resources and otherwise communicate and coordinate. Often, the interconnections of people in complex social and work situations are too complex and varied to “specify” in detail. It is vital to have a high degree of mutual trust and to collaborate and coordinate, not just through well-defined and precise set of rules and regulations, but through a sense of being part of a larger group.

In addition, people often have different professions, roles, backgrounds, experiences, educations, etc. This makes both communication and trust more challenging. Many of today’s communications are done remotely and in many cases, communication is limited to writing and reading text or the exchange of other purely instrumental communications; e.g., through forms, data, formulae, or signals. While such communication can be “efficient,” it is only effective when the situation being communicated about has been well-anticipated. In novel situations, it might not work at all and that is when people need to rely on each other in informal ways. In addition, while storytelling and conversing may seem “inefficient,” they are intrinsically more engaging and richer experiences for most people as compared with filling out forms.

Communication that is purely instrumental does little to encourage cooperation and build trust. Yet, because of the wide disparity in people’s backgrounds and experiences, as alluded to above, we need that cooperation and trust more than ever.

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Forces:

  • Groups of groups must sometimes work together to achieve common goals.
  • Subgroups may disagree with each other about the best use of resources to achieve those common goals.
  • In a drive to improve “efficiency,” rather than simply letting people talk, many business transactions are formalized and leave no room for expressive communication.
  • When the actual problem at hand requires people to work outside of the formalized transactions for a solution, it helps to have mutual trust.
  • Music that is shared, whether listened to, danced to, or created together, provides an opportunity to be expressive and build mutual trust.
  • Higher levels of mutual trust lead to better outcomes and provide more     pleasant experiences for all.

 

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Solution:

When possible encourage groups to engage in listening to or creating music together as a means to increase trust.

Examples: 

1. Early in the days of IBM, at the beginning of the day, employees sang company songs in unison.

2. Many high schools, colleges, and nations have songs that everyone in the group sings together. Many couples also agree on one song that is “theirs.”

3. In basic training, the military uses cadenced marching “songs” to help keep the group literally “in step” and encourage esprit de corp.

4. When multiple people row a boat, it is more efficient when the oars all hit the water at the same time. Most cultures that use rowers, also use songs to help coordinate the effort. Song is also used when a group of people has to pull or push something heavy.

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Resulting Context:

When people sing together, play music together or dance together; even when people listen to the same music, they are literally more “in synch.” Each person is individually in a better mood. The group as a whole identifies more with the whole group. Trust in increased.

A community, team, or group that regularly shares music together also experiences a longer term effect of increased mutual trust. Robert Putnam and his collaborators, Robert Leonardi and Raffaella Nanetti, in Making Democracy Work: Civic Traditions in Modern Italy found that the best predictor of both how people felt about various communities in Italy and how effective they were economically was best predicted by how many chorale societies they had.

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Related Patterns: 

Small Successes Early, Build from Common Ground.

Metaphors: 

In the vertebrate body, there is a heartbeat. The pulsing heart serves as a coordination event for the rhythm of the body. In the brain, there are various frequencies of “waves” and although the exact evolutionary advantage is not known, we may speculate that these help coordinate the overall response.

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References: 

https://www.ncbi.nlm.nih.gov/pubmed/20175359

https://www.sciencedirect.com/science/article/pii/S1744388114000516

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4021113/

https://link.springer.com/chapter/10.1007%2F978-94-017-8920-2_3

https://press.princeton.edu/titles/5105.html

———————————

IMG_1282

Author Page on Amazon –

https://www.amazon.com/author/truthtable

——————————————————–

Piano

Strike! the keys then smoothly skim along.
Strike! piano then sing your song.
Strike! down harder as the music flies.
Strike! once more as the music dies.

Murmur so softly to the moonbeams of blue;
Whisper quiet to the desert night.
Rolling, caroling, dancing, whirling,
Murmur down to nothingness and silence long.

Triumphantly, the snow falls now,
Majestically were love’s enow.
Chord full rich. Chord weird whines.
Empty fifths flow futilely along.

The rhythm picks up in a waltzing gate
And all the dancers can hardly wait.
The melody’s thinking, “All is great!”
This orgy of music will satiate.

Mellow and sadly, slowly going,
Seeds of sorrow steadily sowing,
From painful pathos fire growing,
Mood and madness never slowing.

Strike! the keys both loud and strong.
Strike! piano then live your song.
Strike! down harder as the music flies
Strike! once more as the music dies.

 

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