Memory

Yesterday's video is about memory.. I couldn't remember what I'd done, so I boot-strapped my memory as I wrote.
What's going on here?
What I said in the video was that the mechanism which sustained my current memory was still active (hence I still had that memory). On inspecting the mechanism (this is new essence with a new mechanism?) I became aware of the mechanism which sustained that mechanism. The mechanism which sustained that mechanism was a new essence sustained by a mechanism.
In each case, 'essence' is what is remembered; 'mechanism' is what sustains the essence as memory. 'Context' - although not considered here - is what might sustain the conscious operation of introspection in the present time (circumstances for remembering - like writing my blog)
the cycle of remembering is:
essence1 -> mechanism1 -> awareness of mechanism1 = essence2 -> mechanism2 -> awareness of mechanism2 = essence3... etc
Today's video is about birdsong and communication - tying into the themes from yesterdays thoughts about Lovelock, communication and sentient existence

Lovelock's symbiosis and communicating systems

I watched a wonderful documentary about James Lovelock yesterday (http://www.bbc.co.uk/iplayer/episode/b00s04qp/Beautiful_Minds_James_Lovelock/) It struck me that the relationship between atmosphere and life may be similar to the relationship between communication and sentient existence. The perspective that Lovelock brings is that you cannot have one without the other, which is different from saying one is more significant than the other. Regarding communication, this is the fundamental difference between Habermas and Luhmann. Luhmann says communication is the most important thing, Habermas say people are. Following Lovelock, communications are the 'atmosphere' within which sentient existence can survive.
Astrid and I went to see 'Comedy of Errors' at the Royal Exchange last night. Fantastic.

Coercion after exhaustion

It's been a mad three days or so. Lots achieved though. I need to relax, and the natural thing was this nocturne. Strangely, the open 5ths are coercive - they define the tonality in a way where expectation is clearly established - and with the way I'm feeling at the moment, that's comforting. What else could I have done that was coercive? Maybe something with four-square rhythm - a march? but that's not relaxing... So what's relaxing about the coercion of the nocturne? Or maybe there's some other property of it... but it's like a mantra...

Brain dump

Thinking about scenarios for the bd. The key issue is "what's in it for me?" for teachers, learners, managers, etc. How can you change the situation about what's in it for them? Expanding the community of practice is one way. Another is dealing directly with personal organisational problems. Another is increasing professional transparency about teaching practice. All these can affect the relationship between structure and agency through increasing the probability of successful communications.

How does this map onto the SPLICE models?
"What's in it for me model?" - the relationship between structure and agency
"intervention model" - ways of controlling the disruption and coordination of activity for learners and teachers
"Personal organisational model" - dealing with personal organisational problems
"Positioning Model" - devising activities for successful communication

Can I really juggle all this stuff??

I'm writing a bid at the moment. Shouldn't really be doing it (and certainly not at the last minute - must be done by Wednesday). But it feels as if it's important - and brings together the thinking around activity, learning design and the strategy workshops. But I'm therefore not finishing my R1 (but can I get that done too at the same time??). Or doing work on the house. Or many other things. But right now, I'm feeling in control of things!

More Beethovenian thinking..

I'm still thinking about the Beethoven inspired stuff from the beginning of the year. Now with the twist of using lots of 2nd inversion chords.
Going back to music I wrote when I was a teenager. That's interesting...

second inversion

Successes

Having reached Easter, things are going very well. The house has come on leaps and bounds (helped by Astrid's sister visiting over the weekend, and a music party). Everyone had a great time. I played lots of Gershwin, accompanied some Schubert songs, with contributions from Astrid's family (very good) and Izzy school friends.

This improvisation is a jazzy one, based on 4ths, in particular 2nd inversion 7 chords in the LH. There's something about 2nd inversion which creates lots of possibilities (because it feels unresolved). The movie is me preparing for a workshop I want to conduct on music in New York.