Korallenriff

Kinder verstehen direkt, dass es sich lohnt, Korallenriffe zu erhalten. Plastikmüll in den Meeren gefährdet die Korallenriffe und die bunte Vielfalt an Fischen, die darin leben. Ein kleines Theaterstück dazu von Kathrin Brunner begeistert Kinder, weil es sie erleben lässt, wie einfach Lösungen aussehen können. Den großen Leuten zeigen, wie traurig die Welt aussieht ohne die farbenfrohe Pracht der bunten Fische, wird sie schon zu Veränderungen bringen. Das Theaterstück und Buch dazu wurde am 16.3.2024 im FEZ in Berlin aufgeführt. Das Figurenspiel mit überleitendem Refrain, das vom Publikum gleichsam der Promenade in den „Bildern einer Ausstellung“ (Mussorgsky) mitgesungen haben, bildete jeweils eine gelungene emotionale Überleitung und Aufmerksamkeitspause. Wir wünschen uns noch viele kleine und große Besuchende für diese Aufführungen. Die Kinder werden es uns schon lehren, den blauen Planeten noch zu retten.

Biographies

The biographies of painters, composers or artists in general can be reconstructed by use of their major works. The biography of René Magritte by Eric Rinckhout (2017) has chosen this way of a retrospective in images and explanatory texts. The biography is built around 50 major images starting with the first one by Magritte at the age of 28. “Les réveries du promeneur” (see below) deal with the confrontation of Magritte with death, suicide and the difficulty to find rational answers to all those questions of why this happens and what becomes of people who experience such a tragedy.
His own childhood was affected by such an event concerning his own mother who suffered from depression. Coping with the evolution of psychic illness over years and the absence of a supportive father have posed a steep challenge for the young person. Creation of art became a coping strategy as well as a relief for those who manage to eventually cross the bridge into their own life leaving behind the bad experiences. J.J. Rousseau was an influence on Magritte as well.
Finding your own destiny and your own style is a process. This process evolves over years. The chronological sequence of 50 images allows to follow the path taken. Thereby, it becomes possible to open up the personal learning and working trajectory of the artist. In retrospective perspective it seems often logical that one style or period of painting follows on from another one. However, in the forward living of the creative life many choices are heavily contingent on other circumstances. Influences of friends, exhibitions, reading, cinema, private or financial situations may determine the creative choices simultaneously or one at a time.
The chronological path of images writes a biography of a special kind. It allows to think in sequences just like in a sequence analysis as sociological methodology. Description, reconstruction, analysis, causality remain a challenge in our attempts to learn and understand more about biographies or the construction and reconstruction of life courses.

Schachnovelle

Die Schachnovelle von Stefan Zweig gehört seit langem zu den Klassikern der deutschsprachigen Literatur. Zuletzt hat Jean-Philippe Toussaint in seinem autobiografischen Roman « L’échiquier » dieses Werk nochmals gewürdigt. Die psychische Belastung der fortgeschritten Schachspielenden macht spannende Lektüre. Bei Stefan Zweig ermöglicht das kognitive Training mittels Schachspielen die Bewahrung vor dem drohenden Wahnsinn durch Isolationsfolter. Gedankliche Fokussierung auf das Schachspiel und Spielen gegen sich selbst im Gedankenexperiment werden Rettung und Flucht in virtuelle Welten. Dennoch hinterlässt die Intensität der Erfahrung Spuren. Absorption ins Game, heute als Gaming meist verharmlost, lässt sich in vielen anderen Lebenssituationen wiederfinden. Es kann zur Sucht werden und Personen komplett absorbieren. Alleine Rauskommen oder vom Trip runter kommen ist schwer. Glück haben diejenigen, die professionelle Hilfe suchen und bekommen können.

Paris 1830s

The music life in Paris in the early 19th century, almost 200 years before now, was incredibly rich. In 1828 the young Flotow arrived in Paris to receive lessons. The pianists Liszt, Chopin, Fields and Czerny passed or lived for longer times in Paris. The innovation in this period of romantic music and operas saw also a fierce competition among those talents. It was no easy task to find your niche to thrive in composition or in both performing and composing.
The 1830s had a rich urban bourgeoisie, which animated and indulged in festive events of live music and social life. Friendships of Chopin and Sand are a testimony for this. Similarly, the young Flotow and Offenbach paired to find their place in the Paris music salons and society of that time. The biography of John Field, written by Patrick Piggott (1973, p.73-81) supports this density of musical experience. The period is also characterized by the fast industrialization and the rise of the global trade. The musical life found refuge in the romantic period and more and more artistic performances by musicians. Theatres, opera houses, concert halls and private salons were meeting points of the upper social class which practices networking in rather closed circles with rather rigid routines and admission at the time.
In architecture the Operas became meeting points and a matter of national pride with National Operas contributing even to national identities. The opulent “Palais Garnier” in Paris was started in 1861 to become an iconic place in the new Paris with the huge boulevards à la Haussmann. The wealthy citizens cultivated a new lifestyle of a networked upper class that had the leisure to participate in the masses of modernity. Cultural events of all kinds filled newspapers and specialized editions. There were inner and outer circles of influence in the economic, military, political and cultural spheres.
Recommendation letters were a real currency for entry in each of these circles. Some of these social practices, have still a lot of currency even in 2024. In short, in the 1830s Paris was the place to be. Compositions of that time still fill concert halls today and their music is abundant on the new music platforms and streaming as well.

L’échiquier

The game of chess has been subject of an ever increasing amount of literature. Not only historically the game, where two kings fight against each other, but the queens are the most powerful figures on the chessboard attracted a great deal of attention. We studied chess in books and watched live tournaments between the best players of the world. Most of this has successfully moved online and we have gotten used to losing against computers for almost all human beings some time ago. The internal federation of chess FIDE lists the top players male and female. The calendar of face to face events is still impressive. The federation operates somehow like a platform of players, as well as for players, to organize their lives as chess players. Anther kind of chess literature is the one that is constructed around the lives of chess players. Some characters get really absorbed into the mental or virtual world of the dialogue between 2 or more characters or players. The real world experience and the game on the board become intertwined or entangled. Losing or winning, to win or not to win, may unbalance whole personalities. Beyond the “Schachnovelle” von Stefan Zweig we have a new addition of fictional writing with autobiographical traits by Jean-Philippe Toussaint (2023) on our desks. « L’échiquier » is a story unfolding in 64 chapters just like the 8 x 8 spots on the chessboard. Of course, the story does not unfold in a linear fashion. It seems as if the players or opponents even change as the game unfolds. Maybe there are more than one game in action. Simultaneously as in some chess tournaments. Some games are blitz games taking just a few minutes, others go on beyond a lifetime. The experience of playing chess even against yourself has a psychological and sociological dimension. You can go round in circles for some or you are like “bowling alone” in the individualized society. About time to shed an additional light on the mystery of the chessboard. Self isolation with a chessboard was also a way of coping with the Covid pandemic. Some still suffer from long Covid and cures are not always easy to find.

L’échiquier, chessboard, Schachbrett

Error 444

The error message 444 is a not so rare encounter while surfing on the web. The error code 444 stands for the message that from the side of the server the connection is closed without any additional message. The occurrence leaves you without further indication of what exactly went wrong in building a connection to a web service or website. You just simply get shut out and that’s it. It may be tough on you if concerns your online banking or other access to vital services delivered through the internet.
In organization science and social science there are many new studies dealing with the finding, dealing, coping or handling errors. It has become much more acceptable to deal openly with errors, blunders or failures. From an individual as well as organizational perspective the cultures that deal openly with these events seem to have a certain advantage to overcome the consequences of errors at all or faster than others.
In some biographies failures are part of the lessons learned throughout life. It is deemed important to acknowledge failures or paths not taken for better or worse. Organizations just like individuals seem to learn more intensively from their failures or omissions than from everything seemingly running smoothly. Learning curves are faster also for “machine learning” if you have access to a huge data set which contains ample data on failures rather than encountering failures after release. Hence, the compilation of errors is an important part or early stage of a learning process. Failed today? Fail again tomorrow. You’ll be really strong the days after although it might hurt.

AI Collusion

In most applications of AI there is one system of AI, for example a specialized service, that performs in isolation from other services. More powerful systems, however, allow for the combination of AI services. This may be useful in case of integrating services focusing on specialized sensors to gain a more complete impression of the performance of a system. As soon as two and more AI systems become integrated the risk of unwanted or illegal collusion may occur.
Collusion is defined in the realm of economic theory as the secret, undocumented, often illegal, restriction of competition originating from at least two otherwise rival competitors. In the realm of AI collusion has been defined by Motwani et al. (2024) as “teams of communicating generative AI agents solve joint tasks”. The cooperation of agents as well as the sharing of of previously exclusive information increase the risks of violation of rights of privacy or security. The AI related risks consist also in the dilution of responsibility. It becomes more difficult to identify the origin of fraudulent use of data like personal information or contacts. Just imagine using Alexa and Siri talking to each other to develop another integrated service as a simplified example.
The use of steganography techniques, i.e. the secret embedding of code into an AI system or image distribution, can protect authorship as well as open doors for fraudulent applications. The collusion of AI systems will blur legal borders and create multiple new issues to resolve in the construction and implementation of AI agents. New issues of trust in technologies will arise if no common standards and regulations will be defined. We seem to be just at the entry of the new brave world or 1984 in 2024.
(Image: KI MS-Copilot: Three smartphones in form of different robots stand upright on a desk in a circle. Each displays text on a computer image.)

AI input

AI is crucially dependent on the input it is built on. This has been already the foundation principle of the powerful search engines like Google that have become to dominate the commercial part of the internet. The crawling of pages on the world wide web and classifying/ranking them with a number of criteria has been the successful business model. The content production was and is done by billions of people across the globe. Open access facilitates the amount of data available.
The business case for AI is not much different. At the 30th anniversary of the “Robots Exclusion Standard” we have to build on these original ideas to rethink our input strategies for AI as well. If there are parts of our input we do not AI to use in its algorithms we have to put up red flags in form of unlisting parts of the information we allow for public access. This is standard routine we might believe, but everything on the cloud might have made it much easier for owners of the cloud space to “crawl” your information, pictures or media files. Some owners of big data collections have decided to sell the access and use to their treasures. AI can then learn from these data.
Restrictions become also clear. More up-to-date information might not be available for AI-treatment. AI might lack the most recent information, if it a kind of breaking news. The strength of AI lies in the size of data input it can handle and treat or recombine. The deficiency of AI is not to know whether the information it uses (is in the data base) is valid or trustworthy. Wrong or outdated input due to a legal change or just-in-time change will be beyond its scope. Therefore, the algorithms have a latent risk involved, i.e. a bias towards the status quo. But the learning algorithms can deal with this and come up with a continued learning or improvement of routines. In such a process it is crucial to have ample feedback on the valid or invalid outcome of the algorithm. Controlling and evaluating outcomes becomes the complementary task for humans as well as AI. Checks and balances like in democratic political systems become more and more important.