Encouraging Schools to Join the 21st Century

Darryl WestConventional public schools are “arranged to make things easy for the teacher who wishes quick and tangible results.” Furthermore, “the ordinary school impress[es] the little one into a narrow area, into a melancholy silence, into a forced attitude of mind and body.” No doubt, you’ve had a thought similar to this one: “if we teach today’s students as we taught yesterday’s, we rob them of tomorrow.”

There’s a reason for the old school language. The words were published in 1915 by educator John Dewey. A century later, the situation has begun to change, mostly, according to Brookings Institute vice president Darryl M. West, as a result of the digital revolution. Mr. West advances this theory by offering an ample range of examples in his new book, Digital Schools.

Quite reasonably, he begins by considering various attempts at school reform, education reform, open learning, shared learning, and so on. Forward-thinking educators fill their office shelves with books praising the merits of each new wave of reform, and praise the likes of Institute for Play, but few initiatives taken hold with the broad and deep impact that is beginning to define a digital education.

digital schoolsBlogs, wikis, social media, and other popular formats are obvious, if difficult to manage, innovations more familiar in student homes than in most classrooms, but the ways in which they democratize information–removing control from the curriculum-bound classroom and teacher and allowing students to freely explore–presents a gigantic shift in control.

Similarly, videogames and augmented reality, whether in an intentionally educational context or simply as a different experience requiring critical thinking skills in imaginary domains, are commonplace at home, less so in class, and, increasingly, the stuff of military education, MIT and other advanced academic explorations, and, here and there, the charge of a grant-funded program at a special high school. More is on the way.

Evaluation, assessment, measurement–all baked into the traditional way we think about school–are far more efficient and offer so many additional capabilities. No doubt, traditional thinkers will advance incremental innovation by mapping these new tools onto existing curriculum, perhaps a step in the right direction, however limited and short-sighted those steps may be. The big step–too large for most contemporary U.S. classrooms–is toward personalized learning and personalized assessment, but that would shift the role of the teacher in ways that some union leaders find uncomfortable.

The power behind West’s view is, of course, the velocity of change in the long-promising arena of distance learning. During the past ten years , the percentage of college students who have taken at least one distance learning course has tripled, and  passed 30 percent in 2011. Numbers are not available, but I suspect we’ve now passed the 50 percent mark. The book does not address the stunning growth of, for example, Coursera. Kevin Werbach, a Wharton faculty member, taught over 85,000 students in his first Coursera course (on gamification)–students from all of the world. Indeed, the current run rate is 1.4 million new Coursera sign-ups per month.

Mimi Ito is one of the more influential thinkers about modern education and its future. Click to read her bio.

Mimi Ito is one of the more influential thinkers about modern education and its future. Click to read her bio.

The author quotes education researcher Mimi Ito:

There is increasingly a culture gap between the modes of delivery… between how people learn and what is taught. [In addition to] the perception that classrooms are boring… students [now] ask, ‘Why should I memorize everything if I can just go online? … Students aren’t preparing kids for life.”

Is this a ground-breaking book. No, but it is useful compendium of the digital changes that are beginning to take root in classrooms across America. Yes, we’re behind the times. In many ways, students are far ahead of the institutions funded to teach them. The book serves notice: no longer are digital means experimental. Computer labs are being replaced by mobile devices. Students are taking courses from the best available teachers online, and not only in college. Many students are enrolled nowhere; they are simply taking courses because they want to learn or need to learn for professional reasons. Without formal enrollment, institutions begin to lose their way. The structure is beginning to erode. Just beginning. And it can be fixed, changed, transformed, amended, and otherwise modernized. And so, the helpful author provides an extensive list of printed links for interesting parties to follow.

Just out of curiosity, I called up Darrell M. West’s web page–it’s part of the Brookings Institution’s site–and, as I expected, he is a man of consider intellect and accomplishment.  And so, I hoped I would find the above-cited links as a web resource. I looked for Education under his extensive list of topics of interest but it wasn’t there. (Uh-oh?) I did find a section on his page called “Resources,” but the only available resource on that page was a 10MB photograph of Mr. West. I couldn’t find the links anywhere. Perhaps this can be changed so that all readers, educators and interested parties can make good use of his forward-thinking work.

Sorry–one more item–I just found a recent paper by Dr. West, and I thought you might find both the accompanying article and the link useful.

Here's a look at 42-year-old John Dewey in 1902. To learn more about him, click on the picture and read the Wikipedia article.

Here’s a look at 42-year-old John Dewey in 1902. To learn more about him, click on the picture and read the Wikipedia article.

U.S. Education by the Numbers

Today, more students are enrolled in school than ever before. And the trend is accelerating. In fact, all of the population numbers in this article have increased by about ten percent in the past ten years; in the next decade, the acceleration will increase. For the moment, let’s focus on the U.S., and, in time, in future articles, the view will expand. Note that much of his information comes from the National Center for Education Statistics.

Before we dig deeply, I suppose it’s interesting to note that there are about 99,000 public schools (including just over 5,000 charter schools), plus more than 33,000 private schools.

640px-College_graduate_studentsThis year, there are slightly fewer than 50 million public school students, including about 15 million high school students in public school. Add another 5 million students in private school, including over 1 million in private high schools.

Each year, about 4 million students start high school. (Actually, the number is about 3.7-4.0 million). Remember that number: it’s the basis for some arithmetic below.

There are many ways to calculate high school graduation rates, and the Federal government has been improving the reliability, accuracy and precision of these metrics. Distribution is uneven: students in some ethnic groups, who live in some states or cities or districts, may fare better or worse (as poorly as 1 in 2 graduating, for example).

In our simple (and, perhaps, simplistic) calculation, it would be fair to assume that about 4 million students start high school and about 3 million finish high school.

About 2 in 3 males, and about 3 in 4 female, enroll in college.

Each year, just under 2 million bachelor’s degrees, plus just short of a million earn an associates degree. And although not everybody earns a bachelor’s degree in four years or an associate’s degree in two years, on average, the vast majority of people who graduate high school–that is, about 3 in 4 of the people who started ninth grade–earn a college degree.

What’s more, nearly one million advanced degrees (masters, doctorate) are awarded every year. It’s fair to assume more than a half million people earn these degrees each year–or about 1 in 6 f the people who graduated high school.

Taking this into the workplace, in 2010, nearly 3 out of 4 college graduates were employed, in comparison with just over 1 in 2 people with only a high school diploma. On average, those college graduates also earned more money: over $45,000 for the college graduates compared with just under $30,000 for high school graduates without a college degree.

All of this sounds terrific, but I wonder whether the numbers are correct.

Last spring, The Atlantic published an article that placed just over 40 percent of 18-24 year olds in college, and offered a graduate rate (within a generous six years) of just 56 percent. If I understand this story correctly: roughly 20 percent of 24 year olds earn a college degree. The Atlantic story was inspired by a report prepared by Reuters.

So why does the National Center for Education Statistics report 1.8 million bachelor’s degrees per year? (I may not be comparing [teacher’s] apples to apples, but this discrepancy seems to be quite large.)

The purpose of this article is not to challenge these sources, but instead, to try to get a fix on the actual numbers, and the state of U.S. education today. Why? If 3 in 4 people are indeed graduating high school, then we’re working on the right problem, especially if the vast majority of high school grads finish college and earn a good wage. However, if only 3 in 4 high school grads are attending college, and only 1 in 2 of them are actually finishing college, that only 1 in 4 Americans are college graduates.

Gee, those numbers seem wrong to me–the number of college graduates is probably over fifty percent–so why don’t the numbers add up?

(Help?)

On Other People’s Bookshelves

During the past few months, a clever oblong book entitled My Ideal Bookshelf has been widely covered in the media. Each two-page spread contains a brief essay about books and reading by a cultural somebody, and a painting of that person’s favorite books arranged as they might appear arranged on a shelf (in fact, not one of the painted arrangements includes an actual bookshelf).

Browsing the groupings of favorite books, I did what I always do. I took some notes, and made a list of books I would like to read someday.

I have wandered through a vast number of books about food and cooking, but so far, I have not taken on Larousse Gastronomique. So, thank you to chef and cookbook author Hugh Acheson for that reminder, and to chef Thomas Keller for suggesting the same book.

From author Junot Díaz, a recommendation for Divided Planet: The Ecology of Rich and Poor.

apatow_bookshelfJudd Apatow, famous for his comedy movies, surprised me with James Agee’s A Death in the Family, and reminded me of a popular book about comedians that I wanted to read, but never did: The Last Laugh.

I was happy to see Dave Eggers highlight Edward P. Jones’s The Known World, a story about American slavery that I finished this winter, and now look forward to reading Denis Johnson’s book, Jesus’ Son which is “short, funny and impossibly lyrical…a book nobody doesn’t like.”

It was fun to see some of my all-time favorites, especially the obscure ones, on other people’s shelves: Chuck Klosterman likes Four Arguments for the Elimination of Television and Rudy Rucker’s The Fourth Dimension, and designer David Kelley likes The Care and Feeding of Ideas by Adams and the compendium, An Incomplete Education, and I do, too.

franco_bookshelfJames Franco wins for the most cluttered bookshelf, also the one with the most books. From his stacks, I think I will pick up another set of Raymond Carver stories, and the original scroll version of Kerouac’s On The Road. I suppose I should read Melville’s Moby Dick, which I have avoided so far for no good reason. Ditto for writer Philip Gourevitch’s suggested A Good Man Is Hard to Find by Flannery O’Connor and Dostoevsky’s The Idiot.

I am among the many who believes Professor Lawrence Lessig to be brilliant, so I was anxious to explore his bookshelf. Mostly, it was the scholarly law stuff that appealed to me, but it was encouraging to see Neal Stephenson’s Snow Crash sitting just below The Federalist Papers. 

Writer / designer / photographer Ben Schott included Dylan Thomas’s Under Milk Wood, but I think I will listen to Richard Burton on the BBC rather than reading it in book form. Patti Smith reminded me that I have not gotten my copy of Allen Ginsberg’s Collected Poems, 1947-1980. Editor Lorin Stein’s list includes Chuck Amuck by Warner Brothers animation director Chuck Jones, which I know I will enjoy.

It was interesting to see one of my architectural favorites, A Pattern Language, on chef Alice Waters’s list, and I suspect we both found it by browsing the same source, years ago, The Whole Earth Catalog. Pretty much, I want to read her entire bookshelf, from M.F.K. Fisher’s Consider the Oyster to Maria Montessori’s The Secret of Childhood.

rosanne_cash_bookshelf

Rosanne Cash’s mix of E.B. White, Mallory and The War of Art (another of my favorites, it’s way over on the left), and Tennyson and Solzhenitsyn was among the most intriguing collections.

Finally: good for William Wegman for including not only two Hardy Boys novels, but also bits of the World Book encyclopedia, The Golden Book Encyclopedia, and Girl Scout Badges and Signs.

I was very pleased, and felt very smart, when I saw so many of my personal favorites on other people’s shelves. And, I felt woefully illiterate when I realized just how many of the books–sometimes, whole bookshelves–with both authors and titles that were completely unfamiliar to me.

(So many books. So little time.)

Masterful Visualizing

In my last post, I recommended a book entitled The Writer’s Journey: Mythic Structure for Writers by Christopher Vogler. As a companion, I recommend another book from the same publisher, Michael Weise Productions. This one is entitled Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know. It’s written by Jennifer van Sijll. Like The Writer’s Journey, Cinematic Storytelling is useful to the one telling the story, and to the reader or audience member on the receiving end. Why does this book matter? Because we’re rapidly developing into a world of visual storytellers–smartphones and digital cameras in hand–and it would be wonderful if everyone could do their job just that much better.

CInematicStory_website_largeBasically, this book is an encyclopedia of visual storytelling techniques, but it’s fun to browse because every idea is illustrated by frames from a well-known or significant film–and each sequence is presented with the relevant bit of the screenplay along with perceptive commentary from the author.

Some are easily understood by the audience, and as a result, they must be used judiciously by the filmmaker or storyteller: the slow-motion sequence in Martin Scorsese’s Raging Bull; the freeze frame that ends Butch Cassidy and the Sundance Kid; the fast-motion sequence in the French film, Amelie; the famous flashback in the Billy Wilder film, Sunset Boulevard; the visual match cut that transforms a bone into a spaceship in 2001: A Space Odyssey; the long dissolve between young Rose and Old Rose in Titanic.

A specialty lens was used by Orson Welles in Citizen Kane–perhaps the movie most often used as an example to illustrate a variety of techniques. Sometimes, a telephoto is the appropriate storytelling choice, and sometimes, it’s the wide angle. These are not random, on-the-fly choices; instead, they are carefully considered during the storyboard phases of film development.

In this entry featuring The Graduate, the author explains the use of a "rack-focus"--here, shifting the focal point from one character to another. The author explains, "Unseen by Elaine, who is still facing Ben, Mrs. Robinson stands in the doorway. Mrs. Robinson is out-of-focus and ghost-like. When Elaine spins around, Mrs. Robinson is pulled into focus, and Elaine is thrown out of focus (Image 4). Every line in Mrs. Robinson's defeated face now shows. After a beat, Mrs. Robinson disappears from the door. When Elaine turns back to Ben, her face remains momentarily blurred, externalizing her confusion. At the moment of recognition, her face is pulled back into focus.

In this entry featuring The Graduate, the author explains the use of a “rack-focus”–here, shifting the focal point from one character to another. The author explains, “Unseen by Elaine, who is still facing Ben, Mrs. Robinson stands in the doorway. Mrs. Robinson is out-of-focus and ghost-like. When Elaine spins around, Mrs. Robinson is pulled into focus, and Elaine is thrown out of focus (Image 4). Every line in Mrs. Robinson’s defeated face now shows. After a beat, Mrs. Robinson disappears from the door. When Elaine turns back to Ben, her face remains momentarily blurred, externalizing her confusion. At the moment of recognition, her face is pulled back into focus.

Selecting a particular point-of-view (POV) can be a critically important aspect of storytelling, as with the below-the-swimmer underwater sequence just before the first swimmer is killed by a shark in JAWS. For which scenes is a low-angle shot most appropriate (character POV for E.T. would be one example), or for which would a high-angle shot be the better creative choice? When does it make sense to use a tracking shot (the camera is mounted on a tripod that glides along tracks; some low-budget achieve similar results by employing a wheelchair)?

Lighting is another variable. In American Beauty, there’s a scene illuminated by candlelight. In E.T., the search is conducted by flashlights and car headlights that illuminate an otherwise dark nighttime landscape.

In Barton Fink, individual shots of props (hotel stationery, an old typewriter) add visual context. Wardrobe is another defining option. So, too, is the use of location as a theme, a concept so masterfully used by director David Lynch in the vaguely creepy Blue Velvet.

It’s not always about what is seen. Sometimes, the scene contains less information, and the story or theme is carried by music or sound effects. Back to Barton Fink for the eerie sense of surreal sound and its ability to paint a picture of each character’s inner world.

Masterful Storytelling

WritersJourney3rddropWe live in remarkable times. Stories are told in every part of the world, and shared with millions of people. Once, this was the domain of the rich and powerful. Today, anybody can tell a story, and share the majesty of their ideas.

Of course, some stories are better than others. There is an art and a craft to all of this, a discipline studied in college programs and in private instruction taught by masters.

One such master is a Hollywood story consultant named Christopher Vogler. Since 1998, Vogler has been the industry expert on a particular, popular type of storytelling and character development. He explains it all in a wonderful book entitled The Writer’s Journey: Mythic Structure for Writers,  now published in its third edition by Michael Weise Productions.

No doubt, you are familiar with the structure of the mythical hero’s journey. You’ve seen it in so many movies. The hero of the story does not begin as a hero. Instead, he or she (more often, he) is an ordinary guy doing ordinary things every day. Then, something happens, and suddenly, he is thrust into an uncomfortable role, reluctant to proceed in anything resembling a heroic journey. Inevitably, the wizened old mentor or the playful talking dog shows up, and the ordinary guy begins to understand that he has no choice, that he must pursue the journey whether or not he wants to do so.

It’s Star WarsThe Wizard of Oz, Sister Act, Big, Raiders of the Lost Ark… you know the routine, but it’s still a story we love to experience, a story we love to tell. It’s the human experience, each time presented anew.

We’re on a mission from God” — Dan Ackroyd and John Landis, screenplay, Blues Brothers

So what’s so special about this book? Well, Vogler has a tidy way of breaking down each of the steps along the journey. For example, after leaving the ordinary world; hearing the call to adventure; refusing the call; meeting with the mentor; encountering tests, enemies and allies; and approaching an innermost cave, the hero is inevitably faced with an ordeal that must be overcome in order to move ahead with the journey. Joseph Campbell, whose book, Hero with A Thousand Faces, covers much of the same territory from a mythological analysis perspective, also arrives, at this point in the journey, at the greatest challenge and the fiercest opponent. So here’s the secret of the ordeal:

Heroes must die so they can be reborn.

To be clear, “the dramatic movement that audiences enjoy more than any other is death and rebirth. In some way, in every story, heroes face death or something like it: their greatest fears, the failure of an enterprise, the end of a relationship, the death of an old personality. Most of the time, they magically survive this death and are literally or symbolically reborn to reap the consequences of having cheated death. They have passed the main test of being a hero.”

Vogler goes on to explain that heroes “don’t just visit death and come home. They return changed, transformed.” So, the ordeal serves as a central core to the story, the place where the variety of story threads begin to tie together in a meaningful way. BUT–the crisis is not the climax of the story. That’s a completely different concept, a part of the story that arrives much later on (near the end, in fact.)

One reason why we love to watch the hero’s journey time and again is because every story is unique. Vogler explains how and why this may be true. Most often, the crisis occurs at the story’s mid-point, which Vogler describes as a tent pole–if it’s too far to one side, the tent sags / the audience’s interest wanes. (He reminds us that our word “crisis” comes from a Greek word meaning “to separate.” Vogler looks at the question of ordeal from many different perspectives, each one a driver that we’ve all experienced in the movies or in good fiction: a crisis of the heart, standing up to a parent, witnessing the death of a loved one, going crazy with emotion, and the list goes on.

If you’re sensing that The Writer’s Journey might be a useful tool for both constructing and de-construcing stories, you’re beginning to understand the value of Volger’s accomplishment. For the writer attempting to tell a story in a way that will ring true for the reader or the audience, this would seem to be an essential tool. For the reader, or the movie fan who wants to better understand the art and craft of storytelling, the deep secrets of the creative team, this book exposes the magic for the trickery that it is, then waves its cape to reveal far deeper magic within. For the English teacher, or professor, in search of a far better way to connect with students who ought to read or write with greater proficiency, here’s the elixir.

Of course, that’s only part of the story: the writing. Next up, from the same publisher: how to tell the visual story to ignite the audience’s imagination.

A Teacher Who Paints Ideas

When a student faces a new subject, there is a certain comfort in structure, process, facts, and the rigorous routine that defines most teaching situations. Teachers find comfort in that structure: first, the basics, then, perhaps, the materials, then, the history followed by waves of increasingly specific information. In theory, it all makes sense. In practice, when faced with the sloppiness of real life, the structure may be exactly what’s not needed because it interferes with the real learning that occurs as a result of experimentation and making glorious mistakes.

I guess that’s why I had so much trouble understanding what Tom Hoffman was doing. Instead of writing a book that began with materials (in this case, watercolor paints, brushes, papers, and accessories), he begins by admitting that watercolor painting is not easy to do, that it is sloppy, messy, difficult to master, wasteful of expensive paper, and then eschews anything resembling a traditional learning process. Instead, he focuses on the most dangerous of all educational concepts: ideas.

Allow me to begin where he first captured my imagination, with a watercolor painting by an extraordinarily talented artist named Lars Lerin.

operaQuoting Hoffman:

The palette is limited to three colors, and almost all of the edges of the shapes are hard. In the realm of value, however, the artist pulls out all the stops. Never merely black, his deepest darks remain full of color. He limits the lightest lights to just a few stops, making everything else seem to be lit by the low gleam of a lantern in a gilded pattern.

With this glorious visual introduction, he begins where most instruction books ought to begin: by encouraging direct observation, followed by critical thinking (would this make a good painting? what appeals to me, and might also appeal to the person looking at my finished work?) and creative thinking (how can I bring the visual ideas to life in the best possible way?) Hoffman does not begin by focusing on materials. He begins by focusing on the process that every artist shares. This leads to two very helpful essays, one entitled “Knowing Where to Begin” and the other, quite reasonably, “Knowing When to Stop.” In between, he explains the process by examining a very common part of the painting process: thinking through the best way to visualize the shapes and forms and values with just enough detail to pull it all together.

Hoffman Skaftafell

Simplicity in pattern and form, a very effective work by Tom Hoffman.

Step back for a moment. Imagine learning history that way. It’s never about the details. It’s always about the whole form. (But in school curriculum, it’s always about the details. Which we always forget.)

A very colorful Juarez Market in Oaxaca is filled with detail. It’s the centerpiece of a chapter entitled “Knowing What Not to Paint.” This leads to thoughts and illustrations about shape and form, and a key concept: simplicity.

A lovely streetscape by the esteemed watercolorist Alvaro Castagnet show how color and light can be handled in the simplest possible way, and yet, with skill, they can result in a painting that appears to be quite complex. The secret, Hoffman explains, is thinking in layers.

Thinking in layers is an additive technique–place one layer of color, then another–but it requires subtractive thinking to begin. That is, you must look at a scene, observe it carefully, determine which areas can be isolated and painted with a single color wash without interfering with other areas. For example, a red wall might be washed, but the blue roof should not be washed in the same layer–unless you’re seeking purple results.

A market in Puerto Rico, painted by Tom Hoffman, provides an illustration of wide dynamic range (note the darks at the top, the lights in the distance),  layering and simple design for optimum impact.

A market in Puerto Rico, painted by Tom Hoffman, provides an illustration of wide dynamic range (note the darks at the top, the lights in the distance), layering and simple design for optimum impact.

Hoffman also encourages the use of a wide dynamic range: the lightest lights and the darkest darks are what makes a painting come to life. Too often, he explains, the range is almost exclusively in the middle tones, and, as a result, the work lacks energy, contrast, and a compelling reason for anybody to pay much attention. Again, appreciate the metaphor because it applies to so many aspects of life: dark and light, silent and boisterous, and so on.

Final lesson: simplify to the point of abstraction. His most powerful work tends to be simple masses of color, artfully arranged.

The name of the book is Watercolor Painting: A Comprehensive Approach to Mastering the Medium.

Watercolor Hoffman

Outsourcing the Human Brain

(Copyright 2006 by Zelphics [Apple Bushel])

(Copyright 2006 by Zelphics [Apple Bushel])

Before we start outsourcing, let’s prepare an inventory and analysis with this concept in mind:

Our intelligence has enabled us to overcome the restrictions of our biological heritage and to change ourselves in the process. We are the only species that does this.”

And, this one:

We are capable of hierarchical thinking, of understanding a structure composed of diverse elements arranged in a pattern, representing that arrangement with a symbol, and then using that symbol as an element in an even more elaborate configuration.”

Simple though it may sound, we may think in terms of not just one apple, but, say, a bushel filled with, say, 130 medium sized apples, enough to fill about 15 apple pies.

We call this vast array of recursively linked ideas knowledge. Only homo sapiens have a knowledge base that itself evolves, grows exponentially, and is passed from one generation to another.

Remember Watson, the computer whose total Jeopardy! score more than doubled the scores of its two expert competitors? He (she, it?) “will read medical literature (essentially all medical journals and leading medical blogs) to become a master diagnostician and medical consultant. Is Watson smart, or simply capable of storing and accessing vast stores of data? Well, that depends upon what you mean by the word “smart.” You see, “the mathematical techniques that have evolved in the field of artificial intelligence (such as those used in Watson and Siri, the iPhone assistant) are mathematically very similar to the methods that biology evolved in the form of the neocortex (from Science Daily: “[the neocortex is part of the brain and] is involved in higher functions such as sensory perception, generation of motor commands, spatial reasoning, conscious thought, and in humans, language.”

Kurzweil bookGenius author Ray Kurzweil has spent a lifetime studying the human brain, and, in particular, the ways in which the brain processes information. You know his work: it is the basis of the speech recognition we now take for granted in Siri, telephone response systems, Dragon, and other systems. No, it’s not perfect. Human speech and language perception are deeply complicated affairs. In his latest book, How to Create a Mind: The Secret of Human Thought Revealed, Kurzweil first deconstructs the operation of the human brain, then considers the processing and storage resources required to replicate at least some of those operations with digital devices available today or likely to be available in the future. At first, this seems like wildly ridiculous thinking. A hundred pages later, it’s just an elaborate math exercise built on a surprisingly rational foundation.

Kurzweil-headshotMuch of Kurzweil’s theory grows from his advanced understanding of pattern recognition, the ways we construct digital processing systems, and the (often similar) ways that the neocortex seems to work (nobody is certain how the brain works, but we are gaining a lot of understanding as result of various biological and neurological mapping projects). A common grid structure seems to be shared by the digital and human brains. A tremendous number of pathways turn or or off, at very fast speeds, in order to enable processing, or thought. There is tremendous redundancy, as evidenced by patients who, after brain damage, are able to relearn but who place the new thinking in different (non-damaged) parts of the neocortex.

Where does all of this fanciful thinking lead? Try this:

When we augment our own neocortex with a synthetic version, we won’t have to worry about how much additional neocortex can physically fit into our bodies and brains as most of it will be in the cloud, like most of the computing we use today.”

What’s more:

In order for a digital neocortex to learn a new skill, it will still require many iterations of education, just as a biological neocortex does today, but once a digital neocortex somewhere and at some time learns something, it can share that knowledge with every other digital neocortex without delay. We can each have our own neocortex extenders in the cloud, just as we have our own private stores of personal data today.”

So the obvious question is: how soon is this going to happen?

2023.

TED-neocortex

Skeptical? Click the image and watch the 2009 TED Talk by Henry Markham. It’s called “A Brain in a Supercomputer.”

In terms of our understanding, this video is already quite old. Kurzweil: “The spatial resolution of noninvasive scanning of the brain is improving at an exponential rate.” In other words, new forms of MRI and diffusion tractography (which traces the pathways of fiber bundles inside the brain) are among the many new tools that scientists are using to map the brain and to understand how it works. In isolation, that’s simply fascinating. Taken in combination with equally ambitious, long-term growth in computer processing and storage, our increasing nuanced understanding of brain science makes increasingly human-like computing processes more and more viable. Hence, Watson on Jeopardy! or if you prefer, Google’s driver-less cars that must navigate through so many real-time decisions and seem to be accomplishing these tasks with greater precision and safety than their human counterparts.

Is the mind a computer? This is an old argument, and although Kurzweil provides both the history and the science / psychology behind all sides of the argument, nobody is certain. The tricky question is defining consciousness, and, by extension, defining just what is meant by a human mind. After considering these questions through the Turing Test, ideas proposed by Roger Penrose (video below), faith and free will, and identity, Kurzweil returns to the more comfortable domain of logic and mathematics, filling the closing chapter with charts that promise the necessary growth in computing power to support a digital brain that will, during the first half of this century, redefine the ways we think (or, our digital accessory brains think) about learning, knowledge and understanding.

Closing out, some thoughts from Penrose, then Kurzweil, both on video:

Big Ideas Simply Explained

Three subjects that I can never seem to understand as completely as I would like:

  • Philosophy
  • Economics
  • Psychology

Whenever I read a book about any of these subjects, I feel like a student, which means, I am reading because duty requires me to complete the book. The subjects interest me, but too many of the books I have read on these subjects are dreary, slow-moving, too dense with ideas for any reasonable person to sort out and retain their valuable understanding. Pictures help, but many of the ideas held within these disciplines are difficult to illustrate with anything better than wordy diagrams.

A year or so ago, I noticed a series of three books put together by Dorling Kindersley (DK)’s collaborative teams in the UK and India. They’ve got the formula right, and as a result, I have spent the last year happily browsing, and learning, from:

  • The Philosophy Book: Big Ideas Simply Explained
  • The Economics Book: Big Ideas Simply Explained
  • The Psychology Book: Big Ideas Simply Explained

A month or so ago, the same company released The Politics Book: Big Ideas Simply Explained, and at some point, I’ll get to that one, too. Right now, I’m still working my way through the first three volumes (about 1,000 pages total).

Three DK BooksSo what’s so special?

First,there is no single author. The collaborative approach focuses on presentation, clarity and consistency. This is less the work of a brilliant psychology teacher, more like a good old fashioned browse through, say, The World Book Encyclopedia from days of old. The type treatments are bold. There are pull-out quotes. There is color. No single idea runs more than a few pages. Everything is presented in a logical flow. There are boxes filled with biographical details. There is a clear statement of predecessor ideas and influences for each idea, and there is an equally clear statement about those in the future who built upon each idea. There are color pictures and diagrams. It’s tidy, presented for smart adult readers but certainly suitable research material for any school report.

The Philosophy Book is written by four academics and two writers: Will Buckingham is a philosopher and novelist with a special interest in the interplay between philosophy and narrative storytelling. Marcus Weeks is a writer, and author. Clive Hill is an academic focused on intellectualism in the modern world. Douglas Burnham is a philosophy professor and prolific writer on the subject. Peter J. King is a doctor of Philosophy who lectures at Pembroke College, University of Oxford. John Marenborn is a Fellow of Trinity College, Cambridge, UK, whose expertise is medieval philosophy. Taken as a group, they’ve got their philosophical bases covered (each of the books is put together by a team with similar skills). Marcus Weeks is the connection between all three books.

The bright yellow Philosophy book introduces the whole idea in comfortable language:

Philosophy is…a chance simply to wonder what life and the universe are all about…Philosophy is not so much about coming up with the answers to fundamental questions as it is about the process of trying to find out those answers, using reasoning rather than accepting…conventional views or conventional authority.”

So begins an introductory essay that introduces debate and dialogue, existence and knowledge, logic and language, morality, religion, and systems of thought and beliefs. A red color burst is the bridge into a timeline that begins the conversation in 624 B.C.E. And so, early on, we meet Pythagoras, who should be famous for more than his geometric theorem. In 428 B.C.E.–that’s about 2,500 years ago–Pythagorus developed a remarkable idea, that everything in the universe conforms to mathematical rules and ratios, and determined that this was true both of forms and ideas. Pythagorus was the leader of a religious cult, in which he was the Messiah, and his followers thought of his work as revelations. Here was a man for whom reasoning was the secret of the universe. He wrote, or said:

There is geometry in the humming of the strings, there is music in the spacing of the spheres.”

And:

Reason is immortal. All else is mortal.”

SiddharthaTurn the page and there’s Siddhartha Gautama and Buddhism’s four noble truths, explained in terms that anybody can understand, followed by the Eightfold Path presented in the Dharma Wheel. Siddhartha is covered in four good pages, and then, it’s time for Confucius and his Five Conscious Relationships.

All three of these men–Pythagorus, Siddhartha and Confucius–lived and worked around 500 B.C.E. More or less, they were contemporaries. A century later, philosophy turns to what is later called science, as Democritus and Leucippus come with the idea of atoms and the emptiness of space. (Seemed very early to me, too!) At about the same time, this from Socrates:

The life which is unexamined is not worth living.”

Jumping ahead to the middle of the book, Britain’s David Hume is considering human nature in the mid-1700s, and, in particular, the ways we cobble together facts:

In our reasonings concerning fact, there are all imaginable degrees of assurance. A wise man therefore proportions his beliefs to the evidence.”

Thinking in the present day, Palestinian philosopher Edward Said criticizes imperialism, Australian Peter Singer advocates for animal rights, and Bulgarian-born French philosopher Julia Kristeva questions the relationship between feminism and power. It’s a large field, and with The Philosophy Book, it’s possible for the average person to navigate with greater confidence than before.

The other two books are equally good.

The Economics Book begins with an article about Thomas Aquinas’s thoughts on prices, markets, and morality; the provision of public goods with thoughts by David Hume, whose words from the 1700s certainly resonate today:

Where the riches are engrossed by a few, these must contribute very largely to the supplying of the public necessities.”

Hume is among the few whose ideas appear in more than one of these volumes. And–I just noticed–The Philosophy Book tends to be stories about the people behind the ideas, The Economics Book tends more toward the ideas with less frequent stories about the people behind them (often because economic ideas are credited to multiple sources, I suppose). Making our way through The Age of Reason (“man is a cold, rational calculator;” “the invisible hand of the market brings order”);  on to economic bubbles (beginning with tulip mania in 1640); game theory and John (A Beautiful Mind) Nash; market uncertainty, Asian Tiger economies, the intersection of GDPs and women’s issues, inequality and economic growth, and more. Great book, but a bit slower going than Philosophy.

Psych Book SpreadThird in the trilogy is the bright red volume, The Psychology Book. As early as the year 190 in the current era, Galen of Pergamon (in today’s Turkey) is writing about the four temperaments of personality–melancholic, phlegmatic, choleric, and sanguine. Rene Descartes bridges all three topics–Philosophy, Economics and Psychology overlap with one another–with his thinking on the role of the body and the role of the mind as wholly separate entities. We know the name Binet (Alfred Binet) from the world of standardized testing, but the core of his thinking has nothing whatsoever to do with standardized thinking. Instead, he believed that intelligence and ability change over time. In his early testing, Binet intended to capture a helpful snapshot of one specific moment in a person’s development. And so the tour through human (and animal) behavior continues with Pavlov and his dogs, John B. Watson and his use of research to build the fundamentals of advertising, B.F. Skinner’s birds, Solomon Asch’s experiments to uncover the weirdness of social conformity, Stanley Milgram’s creepy experiments in which people inflict pain on others, Jean Piaget on child development, and work on autism by Simon Baron-Cohen (he’s Sacha Baron Cohen’s cousin).

When I was in high school and college,  I was exposed to all of this stuff, but only a small amount remained in my mind. Perhaps that was because I was also trying to read the complete works of Shakespeare, a book a week of modern utopian fiction, The Canterbury Tales, and studying geology at the same time. In high school and college, these topics were just more stuff to plough through. No context, no life experience, no connection to most of the material. Now, as an adult, it’s different. Like everyone I know, and everyone you know, I’m still juggling way too much in an average week, but I can now read this material with a real hope of understanding and retaining the material. Cover to cover, times three, these books will take you a year or two, but… without a test the next morning, you’ll be surprised how interesting philosophy, psychology and economics turn out to be. Just read them in your spare time, and behold (great word, “behold”) the ways in which humans have put it all together over several millennia. It’s a terrific story!

Big Data, Bigger Ideas

face pic human face

Every animate and inanimate object on earth will soon be generating data, including our homes, our cars, and yes, even our bodies”— Anthony D. Williams on the back of a big book entitled The Human Face of Big Data

From the dawn of civilization until 2003, humankind generated give exabytes of data. Now, we produce five exabytes every two days.” — Eric Schmidt, Executive Chairman, Google

The average person today processes more data in a single day than a person in the 1500s did in an entire lifetime.

Big Data is much more than big data. It’s also the ability to extract meaning: to sort through masses of numbers and find the hidden pattern, the unexpected correlation, th surprising connection. That ability is growing at astonishing speed, it won’t be long before Amazon’s ability to dazzle customers by suggesting just the right book will seem as quaint as our ancestors’s amazement at horseless carriages.– Dan Gardner, from the book’s introduction

human face big dataClearly, big data is a massive idea. Let’s see if we can’t break it down, if not by components, then, at least, by illustrations of classes and contexts.

The connection between data collection and pattern recognition is not new. In fact, we know the earliest example, which still exists, in book form, in a small, private Library of Human Imagination in Ridgefield, Connecticut. The book is called Bills of Mortality, and it records the weekly causes of death for London in 1664. This data was used to study the geographic (block-by-block) growth of the plague, and to take measures to prevent its future growth.

Two hundred gigabytes per day may not seem like much data, not in the days when you can buy a terabyte drive from Staples for a hundred bucks or so, but collect that much data day and day out, for a few years, and the warehouse becomes a busy place. That’s what MIT Media Lab’s Seb Roy did to learn how his newborn son learned language. The work was done at home with eleven cameras and fourteen microphones recording the child’s every move, every sound. The recording part of the project is over–their son is now seven years old–but analysis of “unexpected connections between the routines of everyday life and how one child learned his first words” continues as a research project.

On the other end of the age scale, there’s Magic Carpet, now in prototype. The carpet contains sensors and accelerometers. When installed in the home of, say, a senior, the carpet observes, records, and learns the person’s typical routine, which it uses as a baseline for further analysis. Then, “the system checks constantly for sudden (or gradual) abnormalities. If Mom is moving more slowly than usual, or it’s 11 a.m., And her bedroom door still hasn’t opened, the system sends an alert to a family member or physician.”

Often, big data intersects with some sort of mapping project. Camden, New Jersey’s Doctor Jeffrey Brenner “built a map linking hospital claims to patient addresses. He analyzed patterns of data, and the result took him by complete surprise: just one percent of patients, about 1,000 people, accounted for 30 percent of hospital bills because these patients were showing up in the hospital time after time…a microcosm for what’s going on in the whole country (in) emergency room visits and hospital admissions…” Subsequently, he established the Camden Coalition of Healthcare Providers to help address this “costly dysfunction.” He collected the data, analyzed it, then brought out meaningful change at a local level.

One of the many superb photographs depicting the intersection between human life and technology use. The book was put together by Rick Smolan, an extraordinary photographer, curator and compiler whose past work includes A Day in the The Life of America and other books in that series.

One of the many superb photographs depicting the intersection between human life and technology use. The book was put together by Rick Smolan, an extraordinary photographer, curator and compiler whose past work includes A Day in the The Life of America and other books in that series.

Yes, there’s a very scary dark side. Bad people could turn off 60,000 pacemakers via their Internet connections. A real time, technology enabled 2008 terrorist attack in Mumbai killed 172 people and injured 300 more thanks to Blackberries, night vision goggles, satellite phones and other devices.

If you control the code, you control the world. There has not been an operating system or a technology that has not been hacked.

Fortunately, the good guys have tools on their side, too. The $40 million Domain Awareness System in Manhattan includes “an array of 3,000 cameras known as ‘The Ring of Steel” that monitor lower and midtown Manhattan as well as license plate readers, radiation detectors, relevant 911 calls, arrest records, related crimes, and vast files on characteristics such as tattoos, body marks, teeth, and even limps. They can also track a suspicious vehicle through time to the many locations where it has been over previous days and weeks.”

Google’s self-driving car is safer than a human-controlled vehicle because the digital car can access and process far more information more quickly than today’s humans.

By 2020, China will complete Compass/Beidou-2. This advanced navigation system will outperform the current (and decades old) GPS system. Greater precision will be used for public safety (emergency response, for example), commercial use (fishing, automotive), and, inevitably, for far more productive war.

Data can mean the difference between life death when the weather turns ugly. Thousands of lives are saved each year by weather earnings in wealthier countries. Yet thousands of lives are lost in poor ones when monsoons, tornadoes and other storms strike with little public warning, an intensifying threat as the planet warms,,,

If you’ve ever wondered what Amazon’s true business is, or why it uses the name of a gigantic river, the answer is big data. Ultimately, Amazon intends to become a public utility for computing services. Take a careful look at Amazon Prime and you will see a prototype. The streaming side of PBS and Netflix are among the enterprises enabled by Amazon’s big data operations.

For FedEx, “the information about the package is as important as the package itself.”

human face big data movementsWhether its eliminating malaria or making art, text messaging for blood donors or tracking asteroids, the future will be defined by the collection, analysis and use of big data. It will shape our individual knowledge about our own bodies, our children’s growth and our parents’ health, our collective tendencies for public good, safety, and bad behavior. It will be embedded in robots and intelligent systems that may, soon, control aspects of life that we once considered wholly human endeavors. It is a change of epic proportions and yet, most of us are unaware of its importance.

The book, The Human Face of Big Data, along with its related website and app, provide a useful gateway into this brave new world.

Amazon: Any Thing, Any Where, Any Time

Amazon-HiddenEmpireFaberNovel is a website filled with interesting, well, I’m not sure what to call these packages of visual information. They’re kinda sorta PowerPoint presentations, but they feel more like a new kind of business book.

Originally, I was going to tell you that there’s a good (updated 2013) story of how Amazon is taking over the world. The presentation, above, tells a compelling tale about how the e-commerce giant has grown, offering considerable detail on the business side, and lots of insight about Amazon’s likely future.

As I went through the 84 slides, I became curious about who was telling the story, and became interested in FaberNovel, the publisher who offers this material under a Creative Commons license. As I browsed, I found an All About Google FaberNovel, too. And another about Google, Facebook, HTML5, the list is both impressive and multi-lingual (that is, presentations are available in multiple languages).

The stories are well-told, simply illustrated, and rely upon diagrams and other simple PowerPoint graphic techniques (nobody will be impressed by the visuals, but the stories are good; Edward Tufte’s magic wand would greatly benefit this material).

I’d start with the Amazon story because it contains so many “oh, that’s why!” or “that’s how, that’s a really good idea” or “what an awesome story of business strategy.” moments. Some of it is likely to be familiar, but it’s unlikely that most people have connected the dots. Sure, 84 pages may seem like a lot, but it’s not more than a half-hour of your life, unless you’re a serious student of e-commerce business.

Interesting discovery.