t'd

01 Prelude No. 1 In C Major, BWV 846

2012-02-21T07:50:00.001+09:00

The Swingle Singers - Bach - Fugue in G minor

2012-02-20T07:00:00.001+09:00

名刺管理

2012-01-29T13:10:00.001+09:00

最近になって始めた方法。本で読んだ「名刺の写真を全てevernoteにアップ」のアレンジだが、なかなか良いと思う。

Android携帯で名刺の写真を撮る。自動的にGoogle+とPicasaにアップロードされるので（実は時々そうでもない。その時は手動）、Picasaの写真に説明を付ける。これは後で検索にかかればよいので、会社名と氏名程度。必要に応じ、会社名も氏名も忘れても辿り着けるようにタグを付けておく。

初めて電話をかける、あるいはメールを出す必要が生じた時は、Picasaで検索した名刺写真を見ながら行う。その際、携帯ないしGmailに電話番号ないしメールアドレスの記録が残るので、それを元にgoogle contactを作成する。以上。

名刺を貰った人の中で、その後連絡をする人は一部。その一部のために、全ての名刺について詳細なアドレス帳を作成するのはCPが悪い。一方で、連絡する可能性のある人を予め絞り込むのは難しく、念のため全ての名刺をとっておくと、今度はいざという時必要な名刺を見つけ出すのが大変。

上に書いた方法なら、全てデータはとっておくが見つけ出すのは容易である。一方、実際に連絡をとった人についてはアドレス帳を作るので、二度目以降の連絡はスピードがアップする。

Blue Note

2012-01-09T10:41:00.001+09:00

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無題

2012-01-03T10:57:00.001+09:00

屋根

2012-01-02T17:57:00.001+09:00

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拡大すると、面白い屋根が。

羽黒神社

2012-01-02T17:52:00.001+09:00

羽黒神社

2012-01-02T17:47:00.001+09:00

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4,986日

2012-01-01T10:37:00.001+09:00

今日から70歳の誕生日までの日数を計算したら5,000日を切っていた。え、それしかないのかと初め思ったが、10,000日あってものんびりするだけだから、かえっていいと思うことにする。 5,000日の間にできること、いくらでもあるな。

Marvin Minsky, "The Emotion Machine" 読了。

2011-12-27T12:57:00.001+09:00

私にとって、最も重要な本の一冊。

ミンスキーが提示した、人の脳／心の働き方についての視点、仮説は、哲学史の中でも独創的、かつ、これからの研究の基礎となるものであり、極めて高い価値を持つものと確信する。

難しいテーマにもかかわらず、これ以上は考えられない平易な文章であった。しかるに、読了までに随分時間がかかったのは、雑事にかまけて読む時間をなかなか確保しなかった自分の怠惰が第一の理由だが、もう一つの理由としては、文章は平易であっても、これまで自分が持っていた考え方がミンスキーによって変えられていくには、やはりそれなりのエネルギーが費やされたということもあるのだろう。

M.Minsky, "The Emotion Machine" p.345

2011-12-27T12:33:00.001+09:00

But whenever we fail to find ways to make such repairs, we will have little choice except to add more checks and balances - for example, by adding more Critics and Censors. However, we'll never find any one, foolproof way to choose (for example) between the advantages of immediate actions and the benefits of cautious, reflective thinking. So whatever we do, we can be sure that the road toward "posthuman minds" won't be smooth.

M.Minsky, "The Emotion Machine" p.342

2011-12-26T08:33:00.001+09:00

However, a more realistic view would recognize that each human mind that exists today is one result of a process in which decillions of previous creatures on Earth spent their lives reacting, adjusting, adapting, and dying so that some of their descendants might thrive. In that unthinkably vast history, all those creatures contributed to a tremendous set of experiments, each of which may have contributed to giving us slightly more powerful brains.

M.Minsky, "The Emotion Machine" p.342

2011-12-26T08:31:00.001+09:00

池が少し凍っていた＠日光山輪王寺逍遙園/111225

2011-12-25T21:50:00.001+09:00

https://plus.google.com/photos/104731131954026222149/albums/5690046948078797937

M.Minsky, "The Emotion Machine" p.341

2011-12-25T09:23:00.001+09:00

For if a mind could make changes in how it works, it would face the risk of destroying itself. This could be one reason why our brains evolved so many partly separate systems, instead of a more unified and centralized one: there may have been substantial advantages to imposing limits on the extent to which our minds could examine themselves!

M.Minsky, "The Emotion Machine" p.336

2011-12-24T18:18:00.001+09:00

In any case, we also will need a model with room enough to have places to put answers to questions that we have not even yet thought of asking. For this I have found it useful to think of the mind as though it were a decentralized cloud of yet unimagined processes, interacting in still unspecified ways.

高橋アキのピアノリサイタル

2011-12-12T08:03:00.001+09:00

ずっと気になっていた高橋アキを、昨日ノバホールで初めて聴いた。曲の簡単な紹介を自分でしながらというスタイル。深く突き詰めたに違いない、しかし衒いのない演奏だった。世界初演のショルディス「高橋アキのための短歌」は、一つ一つの音の響きを、それまでの音の記憶と共に、静かに噛みしめる曲(もしかすると、全部で31音だった？)。ハイパービートルズ中の一曲、クルセヴェック「モンクス・インターメッツォ」は、セロニアス・モンク風にブラームスのインターメッツォを弾いて見せましょうと言いながらビートルズを織り込んでしまうという機知に富んだ曲。これだけの内容のリサイタルなのに、聴衆は100人前後か(ホールは約1000席)。雑音や早過ぎる拍手に煩わされことのない、贅沢な音楽体験だったが、さすがに少しもったいない気がした。 http://www.tins.ne.jp/~tsukuba-concert/takahashi.html

高橋アキのピアノリサイタル

2011-12-12T07:56:00.001+09:00

ずっと気になっていた高橋アキを、昨日ノバホールで初めて聴いた。曲の簡単な紹介を自分でしながらというスタイル。深く突き詰めたに違いない、しかし衒いのない演奏だった。世界初演のショルディス「高橋アキのための短歌」は、一つ一つの音の響きを、それまでの音の記憶と共に、静かに噛みしめる曲。(もしかすると、全部で31音だった？) ハイパービートルズ中の一曲、クルセヴェック「モンクス・インターメッツォ」は、セロニアス・モンク風にブラームスのインターメッツォを弾いて見せましょうと言いながらビートルズを織り込んでしまうという機知に富んだ曲。これだけの内容のリサイタルなのに、聴衆は100人前後か(ホールは約1000席)。雑音や早過ぎる拍手に煩わされことのない、贅沢な音楽体験だったが、さすがに少しもったいない気がした。 http://www.tins.ne.jp/~tsukuba-concert/takahashi.html

高橋アキのピアノリサイタル

2011-12-12T07:44:00.001+09:00

ずっと気になっていた高橋アキを、昨日ノバホールで初めて聴いた。曲の簡単な紹介を自分でしながらというスタイル。深く突き詰めたに違いない、しかし衒いのない演奏だった。世界初演のショルディス「高橋アキのための短歌」は、一つ一つの音の響きを、それまでの音の記憶と共に、静かに噛みしめる曲。(もしかすると、全部で31音だった？) ハイパービートルズ中の一曲、クルセヴェック「モンクス・インターメッツォ」は、セロニアス・モンク風にブラームスのインターメッツォを弾いて見せましょうと言いながらビートルズを織り込んでしまうという機知に富んだ曲。これだけの内容のリサイタルなのに、聴衆は100人前後か(ホールは約1000席)。雑音や早過ぎる拍手 http://www.tins.ne.jp/~tsukuba-concert/takahashi.html

M.Minsky, "The Emotion Machine" p.333

2011-12-11T08:49:00.001+09:00

So you can never be "wholly aware of yourself" because "you" are a river of rivaling interests, always enmeshed in cascades of attempts to describe its ever-changing eddies and tides.

M.Minsky, "The Emotion Machine" p.331

2011-12-11T08:48:00.001+09:00

So you can never be "wholly aware of yourself" because "you" are a river of rivaling interests, always enmeshed in cascades of attempts to describe its ever-changing eddies and tides.

M.Minsky, "The Emotion Machine" p.331

2011-12-09T18:25:00.001+09:00

We certainly each have some privileged access, but we should not overrate its significance. I suspect that our access to our own thoughts provides more quantity but does not seem to reveal much more about the nature of our own mental activities. Indeed, our self-assessments are sometimes so inept that our friends may have better ideas about how we think.

M.Minsky, "The Emotion Machine" p.329

2011-12-07T08:20:00.001+09:00

In other words, it seems to me, the apparent "directness of experience" is an illusion that comes because our higher mental levels have such limited access to the systems we use to recognize, represent, and react to our external and internal conditions.

M.Minsky, "The Emotion Machine" p.324

2011-12-04T18:23:00.001+09:00

However, this pleasant and positive strategy may not work well in unfamiliar realms because when we are learning a new technique, we need to work harder with fewer rewards, while enduring the additional stress of being confused and disoriented. Also, it may require us to abandon older techniques and representations that have previously served us well - which might even arouse a sense of loss that brings "negative" feelings akin to grief. Such periods of awkwardness and inepitude would usually cause a person to quit.

M.Minsky, "The Emotion Machine" p.323

2011-12-02T08:29:00.001+09:00

after you've solved a difficult problem, you may feel relieved and satisfied, and sometimes may also feel a need to arrange for some sort of inner or outer celebration. Why might we have such rituals? Perhaps there's a special kind of relief that comes when one can dismiss a goal and release the resources that it engaged - along with the stresses that came with them.

M.Minsky, "The Emotion Machine" p.321

2011-11-28T08:06:00.001+09:00

Consider how messy our minds would become if we filled them up with descriptions of things whose details had too little siginificance. So instead, we spend large parts of our lives at trying to tidy up our minds - selecting the portions we want to keep, suppressing others we'd like to forget, and refining the ones we're dissatisfied with.

「長谷川等伯と狩野派」展＠出光美術館

2011-11-28T08:00:00.001+09:00

日経の小説を読んでいる者にはたまらない好企画。探幽が等伯の虎に書いた賛など解説を読んでびっくり。
両派の絵を比較しながら色々楽しめるが、やはり何と言っても等伯。あの白鷺の浮遊感を味わうがごとき飛び様！それを見るもう一羽の白鷺のほとんど哲学者のような表情！あの竹の僅かにカーブしつつしかも凛と空に向かう様！あの柳の一枝一枝の太さといい濃さといいこれ以外あり得ない線！絵画を見ることがこんなにも幸せなことだとは。
http://www.museum.or.jp/modules/topics/index.php?action=view&id=95

スティーブ・ジョブズⅡ

2011-11-26T11:21:00.001+09:00

111124読了。

Ⅱは、アップル製品史的な内容が相当部分を占める。その分、ジョブズという人間自身についての記述はⅠよりは少ないと感じた。しかし、iPod, iTunes, iPhone, iPadなどの、いずれもまさに時代を画した製品は、ジョブズの「すごいものを作る」情熱と、狂気にも近い激しさがなければ生まれなかったものであることはよく分かった。それぞれの製品がどのようにして生まれたかを語ることが、そのままジョブズの人物を語ることになっているわけだ。

後半はガンとの戦いについても多く書かれている。早い段階で発見されていたにもかかわらずジョブズが当初ガンを軽視したこと、民間療法や菜食主義にこだわったことが、現代最高の治療をもってしてもガンの進行に追い付けない事態を招いたようだ。一方で、このジョブズの態度は「現実歪曲空間」や東洋思想への傾倒と不可分であり、それらがなければジョブズの偉大な成果もなかったのだろう。

本の最後に著者が紹介している、ジョブズの言葉から。

「僕らは自分が持つ才能を使って心の奥底にある感情を表現しようとするんだ。僕らの先人が遺してくれたあらゆる成果に対する感謝を表現しようとするんだ。そして、その流れになにかを追加しようとするんだ。

そう思って、ぼくは歩いて来た。」

M.Minsky, "The Emotion Machine" p.320

2011-11-23T20:40:00.001+09:00

I suspect that we use words like "Me" and "I" to keep us from thinking about what we are! For they all give the very same answer, "Myself," to every such question that we might ask.

浦田憲治「中村真一郎、博覧強記の快楽主義者」より　（日経111113朝刊）

2011-11-18T17:12:00.001+09:00

（中村さんは）「父は、美術とスポーツに趣味のある、そして女性の魅力にも敏感な、仕事まで半分、遊びのようにしているエピキュリアン、快楽主義者」と書いていたが、自身も女性や酒や美食をこよなく愛したエピキュリアンだった。

M.Minsky, "The Emotion Machine" p.316

2011-11-15T12:57:00.001+09:00

Thus, representing feelings in terms of intensities can simplify how we make our decisions - by encouraging us to overlook other kinds of distinctions in cases where we ought to use more thoughtful ways to deal with things!

M.Minsky, "The Emotion Machine" p.313

2011-11-14T08:23:00.001+09:00

Self-control is no simple skill, and many of us spend much of our lives seeking ways to make our minds "behave." This suggests yet another meaning for Self; we sometimes use it as a suitcase-word for all the methods we use to control ourselves.

M.Minsky, "The Emotion Machine" p.309

2011-11-09T08:27:00.001+09:00

whatever happens, we're prone to ask ourselves who or what was responsible - because our representations force us to fill the "caused-by" slots that we mentioned in Chapter 8-7.

M.Minsky, "The Emotion Machine" p.307

2011-11-08T18:59:00.001+09:00

It sometimes makes sense to think of your Self as a permanent, unchanging entity. But to what extent are you the same as you were ten minutes ago? Or are you like the proverbial knife that has had both its handle and blade replaced? You are certainly not like the text of a bound, printed book whose "contents" dont't change from one day to the next. Nevertheless, enough of your knowledge remains the same - and different enough from anyone else's - that one can argue that our Identities are mainly what's in our memories.

清川あさみ展

2011-11-06T15:59:00.001+09:00

水戸芸術館で清川あさみ展を見た。実に痛快な驚愕。刺繍でここまで、と初め思ったが、刺繍だからこそなのだと気づいた。質感の違いを活かして明示的に重ねられたレイヤーと、元のレイヤーとの関係が作り出す面白さなのだ。絵の具では下地と一体化してしまい、難しさがあるだろう。
美に美を重ねる、生命に生命（的なもの）を重ねる、風景に風や気（を感じさせるもの）を重ねる。なんということをしてくれるのだろう、この人は！
必見の展覧会だが、時間のない人は刺繍を施された造花の小庭園だけでも見てほしい。この偏執狂的な凄まじい仕事が生み出したおどろおどろしいまでの美しさといったら、あきれてポカンとしてしまうほどだ。
ジョブズに倣ってthink different な人を選ぶなら、清川あさみを加えたい。

反省

2011-11-05T20:54:00.001+09:00

横浜トリエンナーレが明日で終わってしまう。８月からやっているというのに、行かないまま。いくらでも機会は作れたのに。

色んなことに気を取られて、大事なことを忘れてしまっていた。

内田光子のピアノを聴いて思った。つまらないことは切り捨てよう、そして、こういうかけがえのないことのために時間やお金を使おうと。

大事なことと高級なものとはイコールではない。２万円のディナーでも、客を思わず惰性で作られたものだったらお金に見合う価値はない。800円の定食であっても、毎日さらに美味しくと工夫を重ね丁寧に作られたものだったら、また食べに行く価値がある。

大事なことを選び、そうでないものを捨てる、選別力を持たなくては。

内田光子ピアノリサイタル

2011-11-04T22:38:00.001+09:00

モーツァルト幻想曲Dminor、シューマンダヴィッド同盟、シューベルトPソナタAmajorというプログラム。内田さんの顔はよく見えなかったが、音楽はこの上なく表情豊かだつた。アンコールは再びモーツァルト、10番3楽章｡これを聴いてはもう何もいらない。

サントリーホール RB2-9-5から

2011-11-04T21:43:00.001+09:00

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内田光子ピアノリサイタル開演前

M.Minsky, "The Emotion Machine" p.306

2011-11-04T08:28:00.001+09:00

Whenever these "subpersonalities" are actively playing their different roles, each of them may have some control over different sets of goals and skills - so that each has a somewhat different Way to Think. However, they will all need common access to many of the person's resources and bodies of commonsense knowledge. This means that those subpersonalities will frequently need to compete for control of some higher-level processes.

M.Minsky, "The Emotion Machine" p.302

2011-11-01T08:19:00.001+09:00

whenever a subject becomes important to us, we tend to build multiple models for it - and this ever-increasing diversity must surely be a principal source of our human resourcefulness.

M.Minsky, "The Emotion Machine" p.300

2011-10-31T08:30:00.001+09:00

Whenever you think about your "Self", you are switching among a network of models, each of which may help to answer questions about different aspects of what we are.

M.Minsky, "The Emotion Machine" p.297

2011-10-26T08:29:00.001+09:00

So much of our human resourcefulness comes from having multiple ways to describe the same situations - so that each one of those different perspectives may help us to get around the deficiencies of the other ones.

M.Minsky, "The Emotion Machine" p.295

2011-10-25T18:42:00.001+09:00

Most computer programs still, today, can do only one particular kind of task, using only a single kind of representation - whereas our human brains accumulate multiple ways to describe each of the Types of Problems we face.

M.Minsky, "The Emotion Machine" p.293

2011-10-24T13:03:00.001+09:00

In biology, new structures usually originate as duplicate copies of older ones, and this often results in orderly layers. However, because brain cells are so peculiarly able to make connections to distant places, they can more easily evolve less hierarchical organizations.

M.Minsky, "The Emotion Machine" p.291

2011-10-23T09:22:00.001+09:00

Many contextual features like these have common names, but many others have no such words, just as we have no expressions for most flavors and aromas, gestures and intonations, attitudes and dispositions. I have proposed to use the term "micronemes" for the myriad of nameless clues that color and shade our thoughts about things, and the figure below suggests some machinery through which such contextual features could affect our mental processes. Imagine that the brain contains a bundle of thousands of wirelike fibers that pass through a great many other structures inside that brain - so that the state of each of those micronemes can influence many other processes.

M.Minsky, "The Emotion Machine" p.291

2011-10-20T08:24:00.001+09:00

We always face ambiguities. The significance of each thing that you see depends on the rest of your mental context. This also applies to events in your mind, because what they mean depends on which mental resources are active then.

M.Minsky, "The Emotion Machine" p.288

2011-10-14T08:26:00.003+09:00

My answer is that no single policy will always work; therefore, resourceful people find ways to decide (using high-level strategies) which policy might be best to apply in various kinds of situations.

M.Minsky, "The Emotion Machine" p.288

2011-10-14T08:26:00.001+09:00

M.Minsky, "The Emotion Machine" p.285

2011-10-13T08:26:00.001+09:00

Our theory is that this is partly because every slot of each of your frames has already been filled with the most common or typical information. Then you use this to make a good guess whenever you don't have additional information.

･･･ In other words, a typical frame describes a stereotype whose "default assumptions" are usually right - but which you can easily change whenever you meet some exceptions to them.

M.Minsky, "The Emotion Machine" p.280

2011-10-12T08:10:00.001+09:00

In other words, knowledge is not composed of "ideas" that exist as separate entities that float around in some mental world; they also need to be interconnected.

M.Minsky, "The Emotion Machine" p.278

2011-10-10T07:02:00.001+09:00

Thus, sometimes the obstacles to learning a new Way to Think is that one needs to endure the discomfort of many awkward or painful performances. So, one "secret of creativity" may be to develop the knack of enjoying that sort of unpleasantness!

M.Minsky, "The Emotion Machine" p.275

2011-10-10T06:34:00.001+09:00

Our abilities to make good credit assignments could be among the most important ways in which we surpass our animal relatives.

M.Minsky, "The Emotion Machine" p.273

2011-10-09T22:10:00.001+09:00

Thus, when you finally achieve a goal, you should assign some credit for this to the higher-level method you used to divide that goal into subgoals. Instead of just storing solutions to problems, you can use each such experience to refine the strategies that you used.

M.Minsky, "The Emotion Machine" p.272

2011-10-05T08:20:00.001+09:00

Consider that any new If →Do rule is likely to fail if the If specifies too few details (because then that rule will be applied too recklessly) - or if the If includes too many details (since then it may never apply again, because no two situaions are ever exactly the same).

M.Minsky, "The Emotion Machine" p.270

2011-10-04T08:24:00.001+09:00

Retrieval: After one makes a memory record, it would make no sense to store this away without providing some ways to retrieve it. This means that each record must also be made with links that will help to activate it when relevant (for example, by linking each new memory to some other, already existing panalogy).

M.Minsky, "The Emotion Machine" p.267

2011-10-03T08:07:00.001+09:00

If our memories mainly consist of panalogies, then most of our thoughts will involve ambiguities. However, this is a virtue and not a fault - because much of our human resourcefulness comes from using analogies that result from this.

土浦全国花火競技大会

2011-10-01T23:41:00.001+09:00

久しぶりに土浦の花火を見た。スターマインの全体の流れを味わうのも、１０号玉の完成度を見るのも、それぞれに楽しい。力作、傑作がこれでもかというほど続く。中で、野村花火工業のスターマイン「夜空のウェディング」が、過剰な装飾を排し王道を行く見事さだった。共に高く昇っていく二つの曲線の美しさと言ったら！
以前は感じなかったことが一つ。最後の花が開いたあとキラキラと満点の星が空を覆うような作品が多い中で、すっと潔く消えてしまう花火もまた良いのだった。

M.Minsky, "The Emotion Machine" p.262

2011-09-28T08:27:00.001+09:00

You are constantly making these kinds of predictions without any sense of how your brain deals with the flood of chaging appearances: How do you know which things still exist? Which of them have actually altered their shapes? Which of them have actually moved? How do you know that you are still in the same room?

M.Minsky, "The Emotion Machine" p.257

2011-09-27T12:56:00.001+09:00

Some philosophers argue that this must be because machines are merely material things, whereas meanings exist in the world of ideas, which lie outside the realm of physical things. However, Chapter 1 suggested that we, ourselves, have constrained our machines by defining those meanings so narrowly that we fail to express their diversity.

M.Minsky, "The Emotion Machine" p.256

2011-09-27T12:51:00.001+09:00

Neverthless, many thinkers still maintain that machines can never achieve such feats as composing great theories or symphonies. Indeed, they prefer to attribute such feats to inexplicable "talents" or "gifts." However, those abilities will seem less mysterious once we see how our resourcefulness could result from having multiple Ways to Think.

M.Minsky, "The Emotion Machine" p.255

2011-09-25T11:24:00.001+09:00

Specifically, Alan Turing showed how to make a machine that can inspect a description of any other machine - and then interpret that description as rules for doing just what that other machine would do.

サザコーヒー＠京成百貨店

2011-09-24T17:54:00.001+09:00

カップが楽しい。

M.Minsky, "The Emotion Machine" p.250

2011-09-24T12:07:00.001+09:00

However, higher-level failures lead to larger-scale changes in strategies - for example, by arousing self-reflective thoughts that cause you to "brood" about what the future might hold for you or about your social relationships, as in, "I don't have enough self-discipline," or "My friends will lose their respect for me," or "I lack the aptitude to solve this kind of problem. Perhaps I should switch to a different profession." Such processes could lead to the large-scale cascades that people call "emotional."

M.Minsky, "The Emotion Machine" p.249

2011-09-22T13:55:00.001+09:00

This means that every Way to Think will need at least some ability to keep other processes from stopping it - and this could be done to some extent by controlling which Critics are active.

M.Minsky, "The Emotion Machine" p.248

2011-09-21T08:23:00.001+09:00

For example, it's easy to both walk and talk because these use such different sets of resources. However, it is much harder to both speak and write (or to listen and read) simultaneously, because both tasks will compete for the sema language resources.

M.Minsky, "The Emotion Machine" p.244

2011-09-20T08:21:00.001+09:00

However, a large-scale change could cause more disruption and result in wasted time and confusion. So as we evolved more ways to think, we also evolved machinery for more quickly returning to previous contexts.

M.Minsky, "The Emotion Machine" p.241

2011-09-18T23:13:00.001+09:00

Thus, suppose that a typical moment of commonsense thinking begins with a brief "micro-manic" phase that produces a few ideas; one could then quickly look for flaws in these, during a short-lived "micro-depressive" phase. If all this take place so quickly that your reflective systems don't notice it, then each "micro-cycle" would seem to be no more than a typical moment of everyday thinking - and the entire process of thinking might seem to go in a steady, smooth, uneventful flow.

M.Minsky, "The Emotion Machine" p.238

2011-09-16T08:20:00.001+09:00

Do we explore a huge number of combinations, or work on the finer details of fewer ones? In either case, when we incubate, we will need to switch off enough of our usual Critics to make sure that the system will not reject too many hypotheses.

M.Minsky, "The Emotion Machine" p.234

2011-09-15T08:29:00.001+09:00

For without such "mind-body" feedback loops, the "cold and neutral" mental states that William James described might not persist for long enough to grow into large-scale cascades. In othe words, your external expressions of anger may serve not only to frighten your enemies, but to also ensure that you will stay frightened for long enough to carry out some actions that might save your life.

欲しい！

2011-09-11T18:32:00.001+09:00

(London Galleryから)

忘牛存人

2011-09-11T17:57:00.001+09:00

十牛図の中では、七．忘牛存人がいいね！一．尋牛、九．返本還源も。

十牛図と秋庭歌一具

2011-09-11T17:46:00.001+09:00

110910＠国立劇場。

十牛図は菅野由弘への委嘱作品で今回が初演。浄土宗、真言宗、日蓮宗三派計４５人の声明。音楽と宗教、哲学が混然となっていて、今までにない体験だった。その典型がプロローグで、普通に音楽を聴いたのとは全く異なる反応が自分に現れたのには驚いた。「鎮魂と再生への祈り」と銘打っているが、そういう面は確かにあったと思う。

秋庭歌一具も国立劇場が委嘱したもので、武満徹の昭和54年の作品。この曲を聴かずして日本音楽を語るなかれとさえ思った。和楽器ならではの旋律なのに極めて現代的。緊張しっぱなしなのにどこか優しいものに触れている感じもする。ただただ聴き入った。それにしても、笙の音色の不思議さ！一つでも全く別の音空間を感じさせてくれるが、その笙の奏者が９人という贅沢。国立劇場の大空間を生かした配置ならではの音の呼応もまた面白かった。

十牛図と秋庭歌一具

2011-09-11T17:43:00.001+09:00

110910＠国立劇場。

秋庭歌一具も国立劇場が武満徹に委嘱したもので、昭和54年の作品。この曲を聴かずして日本音楽を語るなかれとさえ思った。和楽器ならではの旋律なのに極めて現代的。緊張しっぱなしなのにどこか優しいものに触れている感じもする。ただただ聴き入った。それにしても、笙の音色の不思議さ！一つでも全く別の音空間を感じさせてくれるが、その笙の奏者が９人という贅沢。国立劇場の大空間を生かした配置ならではの音の呼応もまた面白かった。

モンブランと焙じ茶ラテ

2011-09-10T13:51:00.001+09:00

おいしかった。あっという間に食べ終わってしまった。焙じ茶ラテも結構でした。
唯我男子独人。

輝く女たち展(茨城県近代美術館)

2011-09-10T12:32:00.001+09:00

http://artscape.jp/exhibition/pickup/10007932_1997.html

特に印象に残ったもの。大観「朝顔」、木内克(デッサンも)、麻生三郎と熊谷守一の裸婦、やなぎみわ。
本展のmy bestはやなぎみわ「MOEHA」。

M.Minsky, "The Emotion Machine" p.231

2011-09-09T07:49:00.001+09:00

words like positive and negative usually do not make sense by themselves, because recognizing when something goes wrong is frequently a critical step towards success.

M.Minsky, "The Emotion Machine" p.228

2011-09-08T18:51:00.001+09:00

Resignation. Whenever you find yourself totally stuck, you can shut down the resources you're using now and relax, lie back, drop out and stop. Then the "rest of your mond" may find an alternative - or conclude that you don't have to do this at all.

M.Minsky, "The Emotion Machine" p.227

2011-09-07T07:58:00.001+09:00

Simplifying. Often a good way to solve a difficult problem is first to solve a simpler version that ignores some features of that problem. Then any such solution may serve as a sequence of stepping-stones for solving the original problem.

M.Minsky, "The Emotion Machine" p.226

2011-09-05T08:24:00.001+09:00

I'm inclined to turn that around to suggest that it was Elliot's new inability to make such decisions that reduced his range of emotions and feelings.

ミカワ屋

2011-09-01T23:12:00.001+09:00

M.Minsky, "The Emotion Machine" p.224

2011-09-01T08:16:00.001+09:00

when you run into obstacles and none of your usual methods help, you may resort to mental strategies that may appear to be somewhat irrational.

M.Minsky, "The Emotion Machine " p. 222

2011-09-01T07:50:00.001+09:00

More generally, until one can describe a process in terms of the functions of smaller parts, it will be difficult to reflect on how that process works - and then to invent useful variations of it.

M.Minsky, "The Emotion Machine" p.220

2011-08-30T12:49:00.001+09:00

Each minor obstacle makes only small changes in how you think, and if you "notice" these at all, they merely appear as transient feelings or as fleeting ideas. But, when more serious obstacles persist and keep you from making progress, then various Critics intervene to make larger changes in how you think.

M.Minsky, "The Emotion Machine" p.217

2011-08-29T08:13:00.001+09:00

if your thoughts were controlled in only a single way, you would be in danger of becoming a monomaniac.

正一位観世稲荷大明神

2011-08-28T19:01:00.001+09:00

Newton Merlot

2011-08-28T10:21:00.001+09:00

昨日飲んだワイン。おいしかった。vintageは忘れました。
https://lh6.googleusercontent.com/-oKKcPFjxAUs/TXUaxr9Cw8I/AAAAAAAABGY/Hi1LO1...

タグチ・アートコレクション

2011-08-28T09:38:00.001+09:00

あのひまわりの東郷青児美術館という先入観があり、これまで行ったことがなかったが、この展覧会は良かった。
http://artscape.jp/exhibition/pickup/10006084_1997.html

アフリカやブラジルの初めて見る作家はもちろん、見慣れた日本の作家にも発見があった。特に、奈良美智の壺(？)。この人、こんなにすごかったんだ。何百年後かにこの壺が発掘されたら、きっと未来の人々は感嘆の声をあげるだろう。

8月31日まで。

同じく。

2011-08-28T08:44:00.001+09:00

新宿高層ビル49階から。

2011-08-28T08:42:00.001+09:00

晴天。暑そう。

M.Minsky, "The Emotion Machine" p.216

2011-08-26T08:18:00.001+09:00

What could have made us all victims of that "amnesia of infancy"? I don't think this is simply because we "forgot". Instead, I suspect that it results from our developing new and better ways to represent both physical and mental events - and some of these methods became so effective that they replaced our previous ones.

M.Minsky, "The Emotion Machine" p.213(2)

2011-08-25T08:17:00.001+09:00

trying to make education too pleasant might hinder children from learning to climb the conceptual mountains inside their monds.

M.Minsky, "The Emotion Machine" p.213

2011-08-25T08:09:00.001+09:00

you can usually start to improve a skill by experimenting with many small steps - but eventually no more such changes may help, because you have reached a local peak. Then further improvement may require you to endure some discomfort and discouragement.

M.Minsky, "The Emotion Machine" p.211

2011-08-24T07:31:00.001+09:00

In such cases, "I am enjoying this," could mean, "I want to remain in my present state, so I'll try to suppress whatever might change it."

M.Minsky, "The Emotion Machine" p.209

2011-08-24T07:18:00.001+09:00

This often enables us to use our knowledge about one kind of thing to understand some other, different kind of thing - and discovering new ways to look at things is one of our most powerful commonsense processes.

M.Minsky, "The Emotion Machine" p.207

2011-08-23T08:11:00.001+09:00

Then how similar they may seem to be will depend upon which differences one decides to ignore. But the importance of each difference depends upon one's current intentions and goals.

M.Minsky, "The Emotion Machine" p.206

2011-08-22T08:22:00.001+09:00

Douglas Lenar 1997: "Analogy works because there is a lot of common causality in the world, common causes which lead to an overlap between two systems, between two phenomena or whatever.

津波速報、色を統一　ＴＶ局、色覚障害者に配慮

2011-08-19T12:34:00.001+09:00

torugon さんに代わって Google リーダーがお届けしています:

津波速報、色を統一ＴＶ局、色覚障害者に配慮

ソース: ［ライフ］ - MSN産経ニュース 11/08/18

　ＮＨＫと民放キー各局が、テレビ画面で津波警報や注意報を流す場合、色覚障害者にも見やすい色に統一したことが１８日、分かった。これまで放送局ごとにばらばらの色使いだったが「命に関わる情報なので分かりやすくしたい」（ＴＢＳ）というのが理由だ。各地の民放系列局でも順次対応を進めるという。

操作オプション

Google リーダーで［ライフ］ - MSN産経ニュースのフィードを登録する
Google リーダーを使ってお気に入りのサイトの最新情報をいち早く入手する

M.Minsky, "The Emotion Machine" p.204

2011-08-18T07:54:00.001+09:00

In other words, "free will" is not a process we use to make a decision, but one that we use to stop other processes!

M.Minsky, "The Emotion Machine" p.201

2011-08-17T13:03:00.001+09:00

whenever we find an A that "almost works" (that is, for our present
purposes) along with a B that actually works, we connect the two with
a Difference-Link that represents, "A is like B, except for a
difference D."

M.Minsky, "The Emotion Machine" p.200

2011-08-16T12:17:00.001+09:00

perhaps we use those tidy structures of notes and tunes as simplified "virtual" worlds for refining Difference-Detectors that we can then use for condensing more complex events (in other realms) into more orderly storylike scripts.

t'd

01 Prelude No. 1 In C Major, BWV 846

The Swingle Singers - Bach - Fugue in G minor

名刺管理

Blue Note

無題

屋根

羽黒神社

羽黒神社

4,986日

Marvin Minsky, "The Emotion Machine" 読了。

M.Minsky, "The Emotion Machine" p.345

M.Minsky, "The Emotion Machine" p.342

M.Minsky, "The Emotion Machine" p.342

池が少し凍っていた＠日光山輪王寺逍遙園/111225

M.Minsky, "The Emotion Machine" p.341

M.Minsky, "The Emotion Machine" p.336

高橋アキのピアノリサイタル

高橋アキのピアノリサイタル

高橋アキのピアノリサイタル

M.Minsky, "The Emotion Machine" p.333

M.Minsky, "The Emotion Machine" p.331

M.Minsky, "The Emotion Machine" p.331

M.Minsky, "The Emotion Machine" p.329

M.Minsky, "The Emotion Machine" p.324

M.Minsky, "The Emotion Machine" p.323

M.Minsky, "The Emotion Machine" p.321

「長谷川等伯と狩野派」展＠出光美術館

スティーブ・ジョブズⅡ

M.Minsky, "The Emotion Machine" p.320

浦田憲治「中村真一郎、博覧強記の快楽主義者」より （日経111113朝刊）

M.Minsky, "The Emotion Machine" p.316

M.Minsky, "The Emotion Machine" p.313

M.Minsky, "The Emotion Machine" p.309

M.Minsky, "The Emotion Machine" p.307

清川あさみ展

反省

内田光子ピアノリサイタル

サントリーホール RB2-9-5から

M.Minsky, "The Emotion Machine" p.306

M.Minsky, "The Emotion Machine" p.302

M.Minsky, "The Emotion Machine" p.300

M.Minsky, "The Emotion Machine" p.297

M.Minsky, "The Emotion Machine" p.295

M.Minsky, "The Emotion Machine" p.293

M.Minsky, "The Emotion Machine" p.291

M.Minsky, "The Emotion Machine" p.291

M.Minsky, "The Emotion Machine" p.288

M.Minsky, "The Emotion Machine" p.288

M.Minsky, "The Emotion Machine" p.285

M.Minsky, "The Emotion Machine" p.280

M.Minsky, "The Emotion Machine" p.278

M.Minsky, "The Emotion Machine" p.275

M.Minsky, "The Emotion Machine" p.273

M.Minsky, "The Emotion Machine" p.272

M.Minsky, "The Emotion Machine" p.270

M.Minsky, "The Emotion Machine" p.267

土浦全国花火競技大会

M.Minsky, "The Emotion Machine" p.262

M.Minsky, "The Emotion Machine" p.257

M.Minsky, "The Emotion Machine" p.256

M.Minsky, "The Emotion Machine" p.255

サザコーヒー＠京成百貨店

M.Minsky, "The Emotion Machine" p.250

M.Minsky, "The Emotion Machine" p.249

M.Minsky, "The Emotion Machine" p.248

M.Minsky, "The Emotion Machine" p.244

M.Minsky, "The Emotion Machine" p.241

M.Minsky, "The Emotion Machine" p.238

M.Minsky, "The Emotion Machine" p.234

欲しい！

忘牛存人

十牛図と秋庭歌一具

十牛図と秋庭歌一具

モンブランと焙じ茶ラテ

輝く女たち展(茨城県近代美術館)

M.Minsky, "The Emotion Machine" p.231

M.Minsky, "The Emotion Machine" p.228

M.Minsky, "The Emotion Machine" p.227

M.Minsky, "The Emotion Machine" p.226

浦田憲治「中村真一郎、博覧強記の快楽主義者」より　（日経111113朝刊）

津波速報、色を統一　ＴＶ局、色覚障害者に配慮