ciousness, culture, and the end product, emergent complexity. Some of these are inductive scales that cannot be measured in numeric units. We might measure information, as bits for instance, but we cannot enumerate the ingenuity embedded in the code. We don’t have a consciousness meter that we can put on your head. And beyond the crude measure of energy-density-flow, we don’t have a scale for emergent complexity. It is a triumph in intellectual history that we have come to understand the scales of time, size, matter, and the varieties energetics. These are reliably real and profoundly practical insights about how our universe and our economy function.
All phenomena, all academic disciplines, and all economic activity can be located in reference to these hierarchical scales. It is this great matrix of bottom-up and top-down causality that allows complexity to grow.
Humans are not at the top of the scales of size and time, but somewhere in the middle. On the energetics, information-ingenuity, sentience-consciousness, and emergent complexity scales, however, humans are off the chart. The human niche is particularly favored in the matrix for the time being—each of us a nexus of causal relationships (physical, biological, social, economic, psychological, mental), realizing extraordinary flows of energy and ingenuity, intensities of subjective experience, and accelerating transformations in the modern period.
In our drive toward specialization and division of labors, we rarely reflect on these natural hierarchies and what they might mean for our understanding of science, self, and society. “The ongoing fragmentation of knowledge and resulting chaos are not reflections of the real world but artifacts of scholarship,” writes Harvard biologists E.O. Wilson in his book, Consilience: The Unity of Knowledge.[14]
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in time to ...</a></b>">The Empathic Civilization is emerging. A younger generation is fast extending its empathic embrace beyond religious affiliations and national identification to include the whole of humanity and the vast project of life that envelops the Earth. But our rush to universal empathic connectivity is running up against a rapidly accelerating entropic juggernaut in the form of climate change. Can we reach biosphere consciousness and global empathy in time to ...
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he process, but this time with the information about the nature of mindsets, value systems and changeability, what kinds of leadership models produce what kinds of effects and what needs to be done. Once again, it is deep pragmatism. It’s a new day and we are trying to extend Madiba magic into the next generation.
You see most people who even look at Graves’ work don’t pay any attention to what may be the major piece of it. It’s not in the color codes of value systems; those are critical. But what is important is the change dynamic. How does change happen? Rather than the very naïve notion that anybody can change anybody to become anything – which is absurd – there are processes that over time can begin to sink into a culture and it roll out along different value system lines. That’s what we are doing.
Don Beck
http://integralleadershipreview.com/11160-don-beck-back-south-africa/…
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metamorphosis. The target production began in 1945, 58 years
before its completion and was a collaboration between Walt Disney
and the Spanish surrealist painter, Salvador Dalí. Salvador Dali
and Walt Disney Destiny was produced by Dali and John Hench
for 8 months between 1945 and 1946. Hench described Dali at the
time, as a "ghostly figure" who knew better than Dali or the
secrets of the Disney film. For some time, the project remained a
secret. The work of painter Salvador Dali was to prepare a six-minute
sequence combining animation with live dancers and special effects
for a movie in the same format of "Fantasia." Dali in the studio
working on The Disney characters are fighting against time, the
giant sundial that emerges from the great stone face of Jupiter and
that determines the fate of all human novels. Dalí and Hench were
creating a new animation technique, the cinematic equivalent of
"paranoid critique" of Dali. Method inspired by the work of Freud on
the subconscious and the inclusion of hidden and double images.
Dalí said: "Entertainment highlights the art, its possibilities are
endless." The plot of the film was described by Dalí as "A magical
display of the problem of life in the labyrinth of time." Walt Disney
said it was "A simple story about a young girl in search of true
love."My grateful thanks to Jack Austin for bringing this animation to my attention • just imagine 4,733,899 views on YouTube and I didn't even know it existed. I shall make this a YouTube favourite nOw on our new Virgin multi Media high-speed home network .
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TCH from Gregorian
calendar based TIME to a [TIME]scale based on the timing of
universal natural processes, that will enable Human[KIND] to
re-connect with the 4D[TIME] heart-beat of NATURE, to then
maximise access to the collective abundance of energy that is
potentially available - which will subsequently address the
essential dilemma of [our]TIME and provide THE mechanism of
action, for responsible citiZENs, whereby they can rise to meet
this ultimate challenge to our future of [NOW] - for the mutual
benefit of ALL LIFE as [ONE].…