ion is presented in the simplest possible terms
John Russell - Sunday Times - September 1963
One of the most distinctive characteristics of Bridget Riley's art is that it "insists" with such concentration that it changes sensory response into something else. The experience which Riley offers is closely related to the expression of emotion or, more exactly, to the creation of visual analogues for sharply particularized states of mind. The very intensity of the assault which her painting makes on the eye drives it, as it were, past the point at which it is merely a matter of optical effect. It becomes acute physical sensation, apprehended kinesthetically as mental tension or mental release, anxiety or exhileration, heightened self-awareness or heightened awareness of unfamiliar or even alien states of being. Bridget Riley Catalogue introduction - David Thompson
Venice Biennale, June 1968
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ying that retail banks should be "ring-fenced" and argues that retail banks, not investment banks caused the financial crisis.
Sadly they both miss the point. Almost all the banks have been very badly managed, not just over the past decade but for many decades. The management and the boards have not been up to the task. Northern Rock was "only a retail bank" but it grew too fast and was too complicated for its very weak board and executives. Lehman's was "only a (sort of) investment bank" but that was too complex for its board.
Any bank (or any business) needs to be no bigger or complex than its board and executives can manage. No chief executive, finance director, chairman or directors can have all the expertise to cover activities as different as lending and financial trading. That is why the so called universal banks must be broken up and why ring-fencing will NOT work.
Tony Shearer W14 8LQ
Osbourne has it all wrong
SIR - The three principal causes of the banking crisis were unwise mortgage lending by Northern Rock, an indulgent display of braggadocio by RBS in overpaying for a little-known Dutch bank just to show it could outbid Barclays, and the purchase by Lloyds of HBOS, without any proper due diligence of its loan book. Nothing whatsoever to do with investment banking. What does George Osbourne think he's doing?
David Langfield, Surrey
Presumably Mr. Osbourne continues in the same vain as every other Chancellor before him, for the last several decades - in complete denial of the need for any understanding of the consequences of consequences of complex systems.
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Added by Michael Grove at 10:36 on February 11, 2013
k as 'the brain's "mental workspace"' where a person is able to manipulate images, ideas or theories which allows them to come up with new ideas. The researchers have published their report...
'Network structure and dynamics of the mental workspace'
in this week's Proceedings of the National Academy of Sciences.
The research could also lead scientists to reproduce a similar creative process in artificial intelligence.
'Understanding these differences will give us insight into where human creativity comes from and possibly allow us to recreate those same creative processes in machines.'
Scientists have long imagined the human brain needed a widespread neural network in order to be able to think imaginatively.
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Added by Michael Grove at 9:15 on September 18, 2013
as atomized knowledge by dividing it into disciplines, subdisciplines, and sub-subdisciplines—breaking it up into smaller and smaller unconnected fragments of academic specialization, even as the world looks to colleges for help in integrating and synthesizing the exponential increases in information brought about by technological advances. The trend has serious ramifications. Understanding the nature of knowledge, its unity, its varieties, its limitations, and its uses and abuses is necessary for the success of democracy… We must reform higher education to reconstruct the unity and value of knowledge.[15]
This is not a problem isolated in the ivy towers of universities. It is an acute problem also for all of us, who have personbyte and firmbyte limits, but who also need to understand a world that is rapidly changing due to science, technology, and globalization.
The bio-social-physical you and me are never outside the matrix, but in this scientific and philosophical exercise we seem to stand away, looking down on the matrix from above. So far as we know, no other entity in the universe has achieved this capacity, and it is in this domain that humans are no longer middling creatures of the matrix. Our self-transcendence, realized especially through the progress in science and economics, art and culture, is a super and completely natural emergent phenomena. We come to understand the matrix from the inside out, though the matrix knows nothing of us.[15] V. Gregorian, V., “Colleges Must Reconstruct the Unity of Knowledge.” Chronicle of Higher Education 50(39): B12. 2004.
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collective delusions from the way we frame it’s
foundations. "IF you would take, you must first give,
this [IS] the beginning of intelligence." Lao Tzu This is timeless. Now we are embodying this intuitive intelligence
everywhere as the frame of “me first” era gives way to we are ONE
spiritually as the biospheric consciousness of understanding we are
nature, structurally as more cooperative networked business
constellations become the norm over the exception, and societally
as we regroup in mutuality and reciprocity over the desperate
propaganda fueled control stories of the fearful few. Love is the OS
and now we’ve digitised and democratised it into manifest across
cooperative networks sprouting worldwide. This is the more
beautiful world we always knew possible. This is manifesting the
Unmanifesto. This is us as ONE. This is #OurNetworkEvolution. ONE❤️ RAY PODDER
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Added by Michael Grove at 11:02 on February 16, 2021
ion is presented in the simplest possible terms
John Russell - Sunday Times - September 1963
One of the most distinctive characteristics of Bridget Riley's art is that it "insists" with such concentration that it changes sensory response into something else. The experience which Riley offers is closely related to the expression of emotion or, more exactly, to the creation of visual analogues for sharply particularized states of mind. The very intensity of the assault which her painting makes on the eye drives it, as it were, past the point at which it is merely a matter of optical effect. It becomes acute physical sensation, apprehended kinesthetically as mental tension or mental release, anxiety or exhileration, heightened self-awareness or heightened awareness of unfamiliar or even alien states of being. Bridget Riley Catalogue introduction - David Thompson Venice Biennale, June 1968
…