for - question - how do you know when you are part of a larger cognitive system? - answer - adjacency - synchronicity - lower level example - two neurons talking to each other - Michael Levin - Mark Solms foundation theory of affect

question - how do you know when you are part of a larger cognitive system? - answer - adjacency - synchronicity - lower level example - two neurons talking to each other - Michael Levin - Mark Solms foundation theory of affect

adjacency - between - answer - synchronicity - lower level example - two neurons talking to each other - Michael Levin - Mark Solms foundational theory of affect - adjacency relationship - This is a very interesting question and Michael Levin provides a very interesting answer - First, it is very interesting that Mark Solms points out that affect is foundational to cognition - This is evident once we begin to think of the fundamental goals of any individual of any species is to optimize survival - The positive or negative affects that we feel are a feedback signal that measures how successful we are in our efforts to survive - Hence, it is more accurate to ask: - How do you know if and when you are part of a larger affective-cognitive system? - Levin illustrates the multi-level nature of simultaneous consciousness by looking at two neurons "in dialogue" with each other, and potentially speculating about a "higher level of consciousness", which is in fact, the level you and I operate at and take for granted - This speculative question is very important for it also can be generalized to the next layer up, - Do collectives of humans, each one experiencing itself a unified, cohesive inner perspective, constitute a higher level "collective consciousness"? - If we humans experience feelings and thinking whilst we have a well defined physical body, then - what does a society feel and think whilst not having such a well defined physical body?

for - neuroscience - memories - reconstructed in the present - with new information - Indyweb - talking to our old selves - memories

Find research that backs this up.

This idea is closely related to "talking rocks" and seems a very apt parallel.

Walter and Julia are examining a glass paperweight in George Orwell's 1984 without having context of what it is or for what it was used.

This is the same sort of context collapse caused by distance in time and memory that archaeologists face when examining found objects.

How does one pull out the meaning from such distant objects in an exegetical way? How can we more reliably rebuild or recreate lost contexts?

Link to: - Stonehenge is a mnemonic device - mnemonic devices in archaeological contexts (Neolithic carved stone balls

Some forms of orality-based methods and practices can be viewed as a method of "reading" physical objects.

Ideograms are an evolution on the spectrum from orality to literacy.

It seems odd to be pulling these sorts of insight out my prior experiences and reading while reading something so wholly "other". But isn't this just what "myths" in oral cultures actually accomplish? We link particular ideas to pieces of story, song, art, and dance so that they may be remembered. In this case Orwell's glass paperweight has now become a sort of "talking rock" for me. Certainly it isn't done in any sort of sense that Orwell would have expected, presumed, or even intended.

This wording seems quite profound.

It means that by creating a personification of our tools, we can more easily communicate with them.

Do people personify their computers? I remember in the late 80s and early 90s computer workstations, especially in university settings, having personified names.

Link this to the personification of rocks w.r.t. talking rocks and oral traditions.

link to: https://hypothes.is/a/KosdVt1qEeykU2dTuVZT3Q

Related to talking rocks (for me), but also completely opposite to talking and thinking rocks altogether.

https://www.themarginalian.org/2011/06/20/inside-notebooks/

There are a number of books which feature the sketchbooks and notebooks of famous writers, researchers and artists. However, most of their work is presented as art in and of itself. Rarely are the messiest and ugliest pages pictured. Most of the layouts in these books are laid out as art. Frequently missing are the structural parts and interviews with the original authors talking about their process. How do they actually use these notebooks in practice? How do ideas move from their heads into the notebooks and from there into their practical work? The notebooks only capture raw ideas as a scaffolding for extending the user's brain and thinking, but it doesn't capture the intangible ideas and portions of process which are still trapped within their brains. To be able to evaluate these portions, the author needs to talk or write about those missing portions of the process otherwise the way they create genius is wholly missing. A viewer of such notebooks would be no closer to creating genius for themselves by attempting to follow the same patterns without these additional structures. It's like the indigenous peoples who talk with rocks as part of their cultural practice—so much of what is happening is missing from the description of "talking with rocks" that most people wouldn't even know where to begin, but for the initiated, the process would be imminently crystal clear.

Which of these books actually delves into the process and does interviews as well?

This article actually lays out the notebooks as their own form of art rather than centering the idea of creative process as a means of helping others to follow these same patterns. We need the book that does for the art and design area what Sönke Ahrens' book How to Take Smart Notes does for the note taking space. It's interesting to see Niklas Luhmann's collection of 90,000 index cards, but without knowing how he used them and what purpose they served, the enterprise is lost. Similarly the depiction of Roland Barthes' index cards in Roland Barthes has a similar function. Showing them is not equivalent to actually understanding them.

link to: https://hypothes.is/a/3SOmoMcMEey8n9dSUWhPJw

phy. In that sense, the reproduction of these three slips ironically resonates, if on a different scale, with the world tour of the mask of Tutankhamen. It refers, if not to the magic silence of a relic, at least to the ghostly parergonal quality of what French language calls a reliquat.

Hollier argues that Barthes' reproduced cards are not only completely divorced from their original context and use, but that they are reproduced for the sheen of reality and artistic fashion they convey to the reader. So much thought, value, and culture is lost in the worship of these items in this setting compared to their original context.

This is closely linked to the same sort of context collapse highlighted by the photo of Chief William Berens seated beside the living stones of his elders in Tim Ingold's Why Anthropology Matters. There we only appreciate the sense of antiquity, curiosity, and exoticness of an elder of a culture that is not ours. These rocks, by very direct analogy, are the index cards of the zettelkasten of an oral culture.

Chief William Berens seated beside the living stones of his elders; a picture taken by A. Irving Hallowell in 1930, between Grand Rapids and Pikangikum, Ontario, Canada. (American Philosophical Society)

https://www.latimes.com/california/story/2022-02-09/riverside-sohcahtoa-teacher-viral-video-mocked-native-americans-fired

Riverside teacher who dressed up and mocked Native Americans for a trigonometry lesson involving a mnemonic using SOH CAH TOA in Riverside, CA is fired.

There is a right way to teach mnemonic techniques and a wrong way. This one took the advice to be big and provocative went way overboard. The children are unlikely to forget the many lessons (particularly the social one) contained here.

It's unfortunate that this could have potentially been a chance to bring indigenous memory methods into a classroom for a far better pedagogical and cultural outcome. Sad that the methods are so widely unknown that media missed a good teaching moment here.

referenced video:

https://www.youtube.com/watch?v=Bu4fulKVv2c

A snippet at the end of the video has the teacher talking to rocks and a "rock god", but it's extremely unlikely that she was doing so using indigenous methods or for indigenous reasons.

read: 7:00 AM

Is this the ultimate form of culturally accepted bragging? How many people discover they can be vaguely "inspiring" instead of delivering substance? Maybe that's what's wrong with the world.

This is a version of talking rocks in a whole different manner, but it reminds me of the book title The Pattern on the Stone about digital communications.

Learning and mastering an alien language takes a tremendous amount of work, taxing one's imagination attempting to come to terms with similarly alien cultural concepts.

Is it also possible that these items may have served the purpose of mnemonic devices as a means of transporting (otherwise invisible) information from one area or culture to another?

Can we build evidence for this from the archaeological record?

Relate this to the idea of expanding the traditional "land, labor, capital" theory of economics to include "information" as a basic building block

Humans in general have a seven second window of self-consciousness. (What is the reference for this? Double check it.) The exception is when one is in conversation with someone else, and then people have much longer spans of self-consciousness.

I'm left to wonder if this is a useful fact for writing in the margins in books or into one's notebook, commonplace book, or zettelkasten? By having a conversation with yourself, or more specifically with the imaginary author you're annotating or if you prefer to frame it as a conversation with your zettelkasten, one expands their self-consciousness for much longer periods of time? What benefit does this have for the individual? What benefit for humanity in aggregate?

Is it this fact or just coincidence that much early philosophy was done as dialectic?

From an orality perspective, this makes it much more useful to talk to one's surroundings or objects like rocks. Did mnemonic techniques help give rise to our ability to be more self-conscious as a species? Is it like a muscle that we've been slowly and evolutionarily exercising for 250,000 years?

I have noticed in some anthropological literature that it appears that the authors completely missed the boat as the result of the lack of ability to communicate with their subjects or better understand their broader basic contexts.

Particular examples of this: -1930s: A. Irving Hallowell conversations with William Berens, Chief of the Berens River Anishinaabe about rocks

• Robin Wall Kimmerer mentions in Braiding Sweetgrass that the new American immigrants looked down on the indigenous people for not "giving thanks" for their food, when in fact it was so embedded into their general culture that it should never have been in question. The immigrants just didn't possess the ability to see the how the thanks had been given.

https://en.wikipedia.org/wiki/Talking_Rock_(disambiguation)

https://en.wikipedia.org/wiki/Talking_Rock,_Georgia

Note the proximity to New Echota, the capital of the Cherokee nation.

In the words of Madonna music makes the people come together. In this case drums with the communication. Of culture in Africa. They were many ways of communicating through drums. Dancing for a date. Dancing to celebrate a wedding. Dancing to celebrate someone’s birthday if they have birthdays. Or dancing for a funeral. In America that would be morbid. But in other cultures that is a sign of respect and a symbol of that’s becoming life again.

"In Colormute, Pollock(2004) makes specific suggestions for addressing the fear of talking about race: “In all conversations about race, I think, educators should be prepared to do three things:ask provocative questions, navigate predictable debates,and talkmore about talking”(p. 221, italics in original)"

"Although in the United States it is common to use the term multiculturalism to refer to both liberal forms of multiculturalism and to describe critical multicultural pedagogies, in Canada, Great Britain, Australia, and other areas,anti-racism refers to those enactments of multiculturalism grounded in critical theory and pedagogy. The term anti-racism makes a greater distinction, in my opinion, between the liberal and critical paradigms of multiculturalism, and is one of the reasons I find the anti-racism literature useful for analyzing multiculturalism in music education."

Je parle avec mon ami.

(Note: it says "walking with" but should say "talking with" -- might've been fixed by the time you read this!)

maa -- me.

ngiy -- I am.

waxtaan v. -- conversation, chat, interview. 💬

ak -- and, with.

sama -- my.

xarit bi -- part of a split set; friend. 👯

https://www.youtube.com/watch?v=QQiWG98Bsys

I think the main thing wrong with it is the eval (which I think can be changed to $("$@") and it's pretty verbose.

Also, there are more concise ways to do it that would probably appeal more to most bash experts...

like set -x

and it does unnecessary things: why save output to a variable? Just let output go to where it would normally go...

So yeah, I can see why this solution isn't very popular. And I'm rather surprised by all the praise comments it's gotten.

I have to disagree with this point that writing cannot be "natural." Yes, generally everyone learns how to speak, while some don't event learn how to write. But, the percent that do learn about writing can translate information more "naturally" because they can better explain their thoughts. If he the point is that talking is more a "natural" function, but it has to be learned just like writing. Just not as intense.