TNC Idea Maps

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In an initial phase of federation, Raković's article was converted into a multimedia object by which his core ideas and insights are made available to a non-specialist. Certain ideas of general interest were selected for further federation.

In what follows we illustrate a way how federation might continue online. This presentation is in terms of multiple views, each dedicated to a specific community and specific purpose.

The way Cohere handles these views (or 'groups' as they are called) is suitable for our purpose: the concepts shown in those views are by default public, which means that they can be seen and connected to other ideas by anyone online. At the same time, the group view shows only the ideas and relationships contributed by the group. In this way the view is both kept private i.e. authored by the group and made available online for further federation by the crowd.


Contents

A high-level public view of DR model extracted from Raković's articles and conversations by federation

This view is created and updated by Knowledge Federation, or specifically by the federators of Raković's article.


This simple view is extracted by the federators from Dejan Raković's technical article (it is the federators' view of the autnor's result, and not yet a product of federation that includes other views as well).

In particular Raković's model (DR model) is represented by an idea and made available for commenting.

In principle this model is saying:

  • that there are two distinct types of creativity – termed 'direct' and 'indirect' (simplifications of Raković's technical terms);
  • that the former enables and the latter inhibits a phenomenon called 'deep creative insight' (the term Raković uses for Tesla's characteristic creative processes) and
  • that while the latter can be explained within the classical paradigm, to understand the former we need to position ourselves within the paradigm of quantum physics.

The contribution of Raković's article is to show us how the dynamics of direct creativity may be modeled and understood by using this latter approach.

Notice that two connections – 'inhibits' and 'enables' – are turned into concepts, in order to turn them into subjects that can be discussed further (by linking other ideas) as shown below.

An intended use of this view is that it represents the author's ideas extracted by federators, but not yet federated with other views. That part of federation happens in the view we show next.

Nature of Creativity – a view of (a corresponding fragment of) our collelctive understanding of creativity

This view represents possible results of further federation of the above one, done by general public.

  • You may also look at and possibly add ideas and connections to this online Cohere map.

This view models the state of the art of our shared understanding of the nature of creativity. You may imagine that this view is offered in cyberspace and co-edited by people who have competence in the area of creativity. This very modest schematic example is a result of an online dialog we had about this theme within the Knowledge Federation community.

You may notice a Value Matrix Object (VMO) giving a green light to Raković's model. A VMO is an object attached to every knowledge resource, accumulating the information about the value of that resource. If anyone had a serious objection to Raković's model, this would be reflected by the associated VMO, and the use of the model would be inhibited until the objection is cleared.

Our prototype initial community federation brought further supporting evidence: Rob Stephenson pointed out to us this video of David Rock's Google lecture Your Brain at Work where around Minute 7 (the point shown in the quoted video) he claims – based on results of monitoring brain activity – that to engage our higher creative abilities we need to "stop thinking" (i.e. stop using the prefrontal cortex). This idea – contributed by the 'crowd' – is represented by "evidence from cognitive science" idea. Others contributed the observation that the reported phenomenology of creativity confirms the claim that a certain specific dynamic associated with direct creativity (of 'letting go' or defocusing, or spontaneous search – as contrasted with rational analysis and deliberate planning) is involved in deeper creative results of various kinds. We began assembling quotes from well-known creative people and other relevant material – and we lumped them togetyher into the idea called "phenomenological evidence":

  • I myself do nothing. The Holy Spirit accomplishes all through me. (William Blake)
  • The position of the artist is humble. He is essentially a channel. (Piet Mondrian)
  • The music of this opera (Madame Butterfly) was dictated to me by God; I was merely instrumental in putting it aon paper and communicating it to public. (Giaccomo Puccini).

This is also what we see when we watch Picasso at work (he is obviously not following a rational plan). And finally this is the way of working practiced by some of the truly creative mathematicians – as we federators observed in a conversation.

So the evidence gathered so far suggests that the practical consequences or 'predictions' that follow from Raković's model passed the reality check – which warrants accepting them as 'state of the art' and federating them further.

GESTALT: Breakthrough in Handling Creativity Possible

While the above view was intended for people with specific interest in creativity, the present view is of general interest (we are now coming closer to the idea of informing that is represented and developed by nowledge Federation). A gestalt is a very basic view of an important area of life. When a gestalt changes, that is (in our scheme of things) truly important news. While the above presented view is still for specially interested – i.e. something people will seek and find when looking into the issue of creativity – a gestalt change is a situation worth prompting people about: "Do you know what happened..."

This view introduces a gestalt change.

  • You may also look at and possibly add ideas and connections to this online Cohere map.

A gestalt is a most refined product of sense making, where we understand what happened in terms of a simple story, and the situation as is in terms of a crisp and clear and often metaphorical image that also shows a suitable way to handle the situation.

Notice that in this higher-level model we no longer see the Value Matrix Object; similarly the claims that indirect creativity inhibits and direct creativity enables deep creative insight are accepted as facts (although they will continue to be discussed in the lower-level view). The main novelty here is the gestalt – that "breakthrough in handling creativity is possible" – which is a sort of news that might or should interest everyone, and in particular people working in education, or business leaders, or academic researchers.

A story that accompanies the above gestalt - as suggested in above Cohere diagram - might be as follows: Physicist Dejan Raković has contributed a model of creativity in which humans switch between two modes, of which one (indirect creativity) is understandable within the worldview of classical physics while the other one (direct creativity) is not. While it is this latter that tends to lead to great innovations (of which Tesla's work is of course prime example), scientific insights and works of art, since only the former could fit into our worldview, only the former was systemically supported (in education, research...) A consequence is that we have developed a culture that in effect inhibits deep creative insight – hence a breakthrough – a radical improvement – in handling creativity is now possible.

In the provided view this gestalt is accentuated by providing Tesla's opinion, voiced two times in Raković's article, that "When we begin to study (phenomena that cannot be understood within the framework of classical physics) we will progress more in ten years than we have for centuries."

COMMUNITY VIEW: Knowledge Federation

Here 'Knowledge Federation' is a place holder for any community of interest that might benefit from the results of our federation of creativity-related research so far. The presented view is part of a community view. You may think of it as KF community's 'InBlog' where other communities are invited to contribute material that is of particular relevance to Knowledge Federation. The already discussed three concepts and their relationships are contributed to this specific community view by Knowledge Federation (the federators judged that the new gestalt may be relevant to this community).


  • You may also look at and possibly add ideas and connections to this online Cohere map.

The novelty here is the idea "Knowledge Federation Course," which is a one Knowledge Federation community is currently interested in. The interest of Knowledge Federation is how to induce improvements in knowledge work through systemic innovation. Learning about the above-mentioned gestalt change prompts the Knowledge Federation members to learn more about the use and control of direct creativity, and to modify their Knowledge Federation Course (result of systemic innovation in education) to develop direct creativity.

MEDIA VIEW: Knowledge Federation Media Channel

The Knowledge Federation Media Channel is a model of a media channel as envisioned and made possible by Knowledge Federation; it is a public space where journalists team up with video and animation artists and other knowledge workers to create the media content as we might need it in this age; and a place where knowledge workers place materials to be picked up by journalists and turned into relevant and interesting media content.

At the same time, we can here begin to see a solution to the 'knowledge work has a flat tire' challenge mentioned in Motivation. How can we have public informing capable of producing and communicating key, direction-changing insights – as we saw, such insights, to have the sort of power they need to have in order to illicit action, need to be produced by a transparent and reliable social mechanism analogous to a jury trial in legal practice. What we saw so far is an initial research prototype of such a mechanism. We now conclude by showing a possible outcome.


  • You may also look at and possibly add ideas and connections to this online Cohere map.

'Good news' should be a combination of interesting and engaging and well told story, with highly relevant insight that is communicated through it. What is shown in the above view is material prepared for journalists to compose such stories. The story can be begin as a report about Tesla's abilities, or of Raković's work, or about the KF dialog (described here as third phase of federation). It can evoke reflections about perhaps spectacular, Tesla-style abilities that may be latent in many and perhaps all of us, which have been all but repressed by the way of working we have been taught to practice through education. The report can finally develop into a story about the foundations for truth and worldview – which is without doubt one of the most interesting and relevant themes.



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