Posts Tagged ‘instrument tuning’

Current events in metrology for fun, profitable, and self-sustaining sustainability impacts

September 18, 2018

At the main event I attended last week at the Global Climate Action Summit in San Francisco, the #giveyouthachance philanthropic gathering at the Aquarium of the Bay, multiple people independently spoke to aligning social and environmental values with financial values, and explicitly stated that economic growth does not automatically entail environmental degradation.

As my new buddy David Traub (introduced as a consequence of the New Algorithm event in Stockholm in June with Angelica Lips da Cruz) was the MC, he put me on the program at the last minute, and gave me five minutes to speak my piece in a room of 30 people or so. A great point of departure was opened up when Carin Winter of MissionBe.org spoke to her work in mindfulness education and led a guided meditation. So I conveyed the fact that the effects of mindfulness practice are rigorously measurable, and followed that up with the analogy from music (tuning instruments to harmonize relationships),  with the argument against merely shouldering the burden of costs because it is the right thing to do, with the counter-argument for creating efficient competitive markets for sustainable impacts, and with info on the previous week’s special session on social and psychological metrology at IMEKO in Belfast. It appeared that the message of metrology as a means for making sustainability self-sustaining, fun, and profitable got through!

Next up: Unify.Earth has developed their own new iteration on blockchain, which will be announced Monday, 24 September, at the UN SDG Media Center (also see here) during the World Economic Forum’s Sustainable Development Impact Summit. The UEX (Unify Earth Exchange) fills the gap for human capital stocks left by the Universal Commons‘ exclusive focus on social and natural capital.

So I’ve decided to go to NY and have booked my travel.

Back in February, Angelica Lips da Cruz recounted saying six months before that it would take two years to get to where we were at that time. Now another seven months have passed and I am starting to feel that the acceleration is approaching Mach 1! At this rate, it’ll be the speed of light in the next six months….

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Measuring Instruments as Media for the Expression of Creative Passions in Education

June 26, 2015

Measurement is often viewed as a reduction of complex phenomena to numbers. It is accordingly also often conceived as mechanical, and disconnected from the world of life. Educational examinations are seen by many as an especially egregious form of inappropriate reduction. This perspective is contradicted, however, by a perspective that sees an analogy between educational assessment and music. Calibrated instruments, mathematical scales, and high technology play key roles in the production of music, which, ironically, is widely considered the most alive, captivating and emotionally powerful of the arts. Though behavioral psychology has indeed learned how to use music to manipulate consumer purchasing decisions, music is unabashedly accepted nonetheless as the highest expression of passion in art.

The question then arises as to if and how measurement in other areas, such as in education, might be conceived, designed, and practiced as a medium for the expression and fulfillment of creative passions. Key issues involved in substantively realizing a musical metaphor in human and social measurement include capacities to tune instruments, to define common scales, to score performances, to orchestrate harmonious relationships, to enhance choral grace note effects, and to combine elements in unique but pleasing and recognizable rhythmic arrangements.

Practical methods for making educational measurement the medium for the expression of creative passions for learning are in place in thousands of schools nationally and internationally. With such tools in hand, formative applications of integrated instruction and assessment could be conceived as intuitive media for composing and conducting expressions of creative passions. Student outcomes in reading, mathematics, and other domains may then come to be seen in terms of portfolios of works akin to those produced by musicians, sculptors, film makers, or painters.

Hundreds of thousands of books and millions of articles tuned to the same text complexity scale, for instance, provide readers an extensive palette of colorful tones and timbres for expressing their desires and capacities for learning. Graphical presentations of individual students’ outcomes, as well as outcomes aggregated by classroom, school, district, etc., could be presented, interpreted and experienced as public performances of artful developmental narratives enabling dramatic performances of personal uniqueness and social generality.

Measurement instrumentation in education is able to capture, aggregate, and organize literacy, numeracy, socio-emotional intelligence, and other performances into special portfolios documenting the play and dance of emerging new understandings. As in any creative process, accidents, errors, and idiosyncratic patterns of strengths and weaknesses may evoke powerful and dramatic expressions of beauty, and human and social value. And just as members of musical ensembles may complement one another’s skills, using rhythm and harmony to improve each others’ playing abilities in practice, so, too, instruments of formative assessment tuned to the same scale can be used to coordinate and enhance individual student and teacher skill levels.

Possibilities for orchestrating such performances across educational, health care, social service, environmental management, and other fields could similarly take advantage of existing instrument calibration and measurement technologies.

Creatively Expressing How Love Matters for Justice: Setting the Stage and Tuning the Instruments

April 16, 2014

Nussbaum (2013) argues about the political importance of connecting with our bodies without shame and disgust, and of the relevance musical and poetic public expressions of varieties of love offer to conceptions of justice. Institutions embodying principles of loving justice require media integrating emotional expression with technical calculation, in exactly the same way music does. Being able to dance at the revolution demands instruments tuned to shared scales, no matter if equal temperament, just intonation, meantone tuning, or any of a variety of other well, or irregular, temperaments are chosen.

The physicality of dancing, so often evoking romance and courtship, provides a point of entry to a metaphoric logic of reproduction applicable to the Socratic midwifery of ideas and to the products of social intercourse. Tuning the instruments of the human, social, and environmental arts and sciences to harmonize and choreograph relationships may then enable formulation of nonreductionist approaches to the problem of how to reconcile political emotions with physical or geometrical accounts of the scales of justice.

Historical accounts of (musical, medical, electrical, etc.) metrological standards describe ways in which passionate concern for shared vulnerabilities and common joys have sometimes succeeded in deploying systems realizing higher forms of just relations (Alder, 2002; Berg and Timmermans, 2000;  Isacoff, 2001; Schaffer, 1992). The question of the day is whether we will succeed in creating yet new forms of such relations in the many areas of life where they are needed.

Yes, as Nussbaum (2013, p. 396) admits, the demand for love is a tall order, and unrealistic. But all heuristic fictions, from Pythagorean triangles to the mathematical pendulum, are unrealistic and are never actually observed in practice, as has been pointed out by a number of historians and philosophers (Butterfield 1957, pp. 16-17; Heidegger, 1967, p. 89; Rasch, 1960, pp. 37-38, 1973/2011). These fictions are, however, eminently useful as guides, goals, and as coherent ways of telling our stories, and that is the criterion by which they should be judged.

 

Alder, K. (2002). The measure of all things: The seven-year odyssey and hidden error that transformed the world. New York: The Free Press.

Berg, M., & Timmermans, S. (2000). Order and their others: On the constitution of universalities in medical work. Configurations, 8(1), 31-61.

Butterfield, H. (1957). The origins of modern science (revised edition). New York: The Free Press.

Heidegger, M. (1967). What is a thing? (W. B. Barton, Jr. & V. Deutsch, Trans.). South Bend, Indiana: Regnery/Gateway.

Isacoff, S. M. (2001). Temperament: The idea that solved music’s greatest riddle. New York: Alfred A. Knopf.

Nussbaum, M. (2013). Political emotions: Why love matters for justice. Cambridge, MA: The Belknap Press of Harvard University Press.

Rasch, G. (1960). Probabilistic models for some intelligence and attainment tests (Reprint, with Foreword and Afterword by B. D. Wright, Chicago: University of Chicago Press, 1980). Copenhagen, Denmark: Danmarks Paedogogiske Institut.)

Rasch, G. (1973/2011, Spring). All statistical models are wrong! Comments on a paper presented by Per Martin-Löf, at the Conference on Foundational Questions in Statistical Inference, Aarhus, Denmark, May 7-12, 1973. Rasch Measurement Transactions, 24(4), 1309 [http://www.rasch.org/rmt/rmt244.pdf].

Schaffer, S. (1992). Late Victorian metrology and its instrumentation: A manufactory of Ohms. In R. Bud & S. E. Cozzens (Eds.), Invisible connections: Instruments, institutions, and science (pp. 23-56). Bellingham, WA: SPIE Optical Engineering Press.