We think of stories as a wildly creative art form but within that creativity and that diversity there is a lot of conformity. Stories are very predictable. No matter where you go in the world, no matter how different people seem, no matter how hard their lives are, people tell stories, universally, and universally the stories are more or less like ours: the same basic human obsessions, and the same basic structure. The structure comes down to: stories have a character, the character has a predicament or a problem—they're always problem-focused—and the character tries to solve the problem. In its most basic terms, that's what a story is—a problem solution narrative.
JONATHAN GOTTSCHALL is a Distinguished Research Fellow in the English Department at Washington & Jefferson College. He is the author or editor of six books, including The Storytelling Animal: How Stories Make Us Human (a New York Times Editor’s Choice Selection and a finalist for the LA Times Book Prize).
One of the things that Julia Peyton-Jones and I try to do with the Serpentine Gallery Marathons, on which we've collaborated with Edge many times, is to provide a format that isn't like a normal conference: it takes place over 24 or 48 hours. And it happens in the Serpentine Gallery Pavilion, so this creates a connection between art and architecture. And then one connects to all the other disciplines through the invited speakers. It's a kind of knowledge festival. The marathon is a hybrid. It's a group show, because artists are doing performances, but they're given time and not space. But it's also a conference because there are lectures and presentations. This year's Marathon, which takes place at The Serpentine Gallery the weekend of October 18-20, will be about "Extinction".
HANS ULRICH OBRIST is the co-director of the Serpentine Gallery in London. He is the editor of A Brief History of Curating, Formulas for Now and the author of several books including, Hans Ulrich Obrist: Sharp Tongues, Loose Lips, Open Eyes, Ears to the Ground, A Brief History of New Music, and Ways of Curating.
What are the arts but products of the human mind which resonate with our aesthetic and emotional faculties? What are social issues, but ways in which humans try to coordinate their behavior and come to working arrangements that benefit everyone? There's no aspect of life that cannot be illuminated by a better understanding of the mind from scientific psychology. And for me the most recent example is the process of writing itself.
STEVEN PINKER is the Johnstone Family Professor in the Department of Psychology at Harvard University. He is the author of ten books, including The Language Instinct, How the Mind Works, The Better Angels of Our Nature, and The Sense of Style (September). Steven Pinker's Edge Bio page
"No one ever got fired for buying IBM" is a wonderful example of understanding loss aversion. The advertising and marketing industry kind of knew this stuff mattered, but where we were disgracefully bad is that no one really attempted to sit down and codify it. When I discovered Nudge—Predictably Irrational—was another one, when I started discovering there was a whole field of literature about this thing for which we have no name—these powerful forces which no one properly understood—that was incredibly exciting. The effect of these changes can be an order of magnitude. This is the important thing. ...
...Markets actually work because they're adaptive and they're responsive to new information. Bad things get killed, good things get promoted. But most of the time what you'll find in business is no one has the faintest idea of why the things that work actually work. What's very useful here is that finally a group of academics with money, time, and high intelligence were finally sitting down to codify and make sense of things, which we'd been aware of for years but which, to our shame, we'd never attempted to actually try and systematize.
RORY SUTHERLAND is Executive Creative Director and Vice-Chairman, OgilvyOne London; Vice-Chairman, Ogilvy & Mather UK; Columnist, The Spectator.
One way to look at the trajectory of Chinese thought is that it's driven by this tension I call "the paradox of wu-wei." Wu-wei is effortless action or spontaneity. They all want you to be wu-wei, but none of them think you are right now. You've got to try to be wu-wei, but how do you try not to try? How do you try to be spontaneous? I call it the paradox of wu-wei, and I argue it's at the center of all their theorizing about other things. There are theories about human nature, there are theories about self-cultivation, there are theories about government. These are all ways of grappling with this central tension that's driving a lot of the theorizing."
EDWARD SLINGERLAND is Professor of Asian Studies and Canada Research Chair in Chinese Thought and Embodied Cognition at the University of British Columbia. He is the author of Trying Not to Try: The Art and Science of Spontaneity. Educated at Princeton, Stanford and the University of California, Berkeley, he is an internationally renowned expert in Chinese thought, comparative religion, and cognitive science. In addition to over twenty academic journal articles in a range of fields, he has written several scholarly books, including What Science Offers the Humanities and a translation of the Analects of Confucius. Edward Slingerland's Edge Bio Page.
Even though cosmology doesn't have that much to do with information It certainly does have to do with revolution and phase transitions, in fact phase transitions in both the literal and the figurative sense of the word.
Inflationary theory itself is a twist on the conventional Big Bang theory. The shortcoming that inflation is intended to fill in is the basic fact that although the Big Bang theory is called the Big Bang theory it is, in fact, not really a theory of a bang at all; it never was.
Think about it this way: previously we thought that our universe was like a spherical balloon. In the new picture, it's like a balloon producing balloons, producing balloons. This is a big fractal. The Greeks were thinking about our universe as an ideal sphere, because this was the best image they had at their disposal. The 20th century idea is a fractal, the beauty of a fractal. Now, you have these fractals. We ask, how many different types of these elements of fractals are there, which are irreducible to each other? And the number will be exponentially large, and in the simplest models it is about 10 to the degree 10, to the degree 10, to the degree 7. It actually may be much more than that, even though nobody can see all of these universes at once.
KEVIN KELLY is Senior Maverick at Wired magazine. He helped launch Wired in 1993, and served as its Executive Editor until January 1999. He is currently editor and publisher of the popular Cool Tools, True Film, and Street Use websites. His most recent books are Cool Tools, and What Technology Wants.
by John Brockman
A few weeks ago David Carr profiled Kevin Kelly on page 1 of the New York Times Business section. He wrote that Kelly's pronouncements were "often both grandiose and correct." That’s a pretty good summary of Kevin Kelly's style and his prescience.
For the thirty years I've known him, Kelly has been making bold declarations about the world we are crafting with new technologies. He first began to attract notice when he helped found Wired as the first executive editor. "The culture of technology, he notes, "was the prime beat of Wired. When we started the magazine 20 years ago, we had no intentions to write about hardware—bits and bauds. We wrote about the consequences of new inventions and the meaning of new stuff in our lives. At first, few believed us, and dismissed my claim that technology would become the central driver of our culture. Now everyone sees this centrality, but some are worried this means the end of civilization."
The biggest change in our lives is the rate of change and it's interesting to note that this week marks the 10th anniversary of the 2004 founding of Facebook. (Twiiter, founded in 2006, was still 2 years away). If you were to get your news electronically at that time, most likely is was on a Blackberry pager. Nobody was talking about "sharing".
Kelly's is well aware that his complete embrace of what he calls "The Technium", is a lightning rod for criticism. But, he points out that "we are still at the beginning of the beginning. We have just started to make a technological society. The technological changes in the next 20 years will dwarf those of the last 20 years. It will almost be like nothing at all has happened yet."
In the meantime Kelly is doing what he's been up to for decades, acting as a sensing and ruddering mechanism for the rest of us, finding his way through this new landscape.