Dclcq - Dclcq

Joanna Karpowicz „7 AM, Poland”, 42 x 29,7 cm, acrylic on paper, 2024 (from artist's fb page)

KAWAI Gyokudō（川合玉堂 Japanese, 1873-1957）

via    more

untitled by 23pavasariai on Flickr.

Tsang Chui Mei（Chinese, b.1972）

The Death of Strawberry  士多啤梨之死  2011  Acrylic on canvas 122 x 61cm  via

Time doesn’t feel the same anymore.

YAMAMOTO Keisuke（山本桂右 Japanese, b.1961）

1. Light Time Silence #30   2. Light Time Silence #31   3. Light Time Silence #32   Lithograph   via    more

Peel 201208 by den dzjow on Flickr.

The Appetizer for Fuzzy

"Bart Kosko, the leading proponent of fuzzy thinking, has degrees in philosophy, economics, mathematics and electrical engineering but even in his book there is a clear-cut thesis that ties all this complex thinking together: to explore the paradigm shift from black and white to gray, from bivalence and binary (either/or) thinking to multivalence, a less simplistic but more accurate way of thinking that responds to life in matters of degree, integrating probability and ambiguity in all modes of operation. (Kosko, Bart. Fuzzy Thinking. New York: Hyperion Press, 1993.)

Fuzzy thinking demands that you increase your options. What are all the possible things or events or conditions that could occur as you explore something? You must use your imagination much more actively than usual. Fuzzy thinking comes from fuzzy math sets in which endless possibilites have been explored. So to unite fuzzy thinking with traditional logic, you need to know more, feel more and think more exhaustively.

Perhaps the word "fuzzy" is misleading for undergraduates. Gratuitous ambiguity due to laziness is not the goal, but rather an inclusion of degree, probability and ambiguity in the formulation of structures that respond to phenomena. In other words it is harder and more intellectually demanding to engage in fuzzy thinking. Kosko has a thorough understanding of traditional logic and its fallacies as well as all the specific scientific applications of fuzzy thinking.

Traditional logic, with all its artificiality, is based on language, but the irony is that the flesh of language is our bodily experience, the cries and sighs and gurgles of needs and wants that slowly grow into more complex sounds that usually connote more than they denote. Nature constantly speaks a language that is homospatial and homotemporal, layered and nonlinear in space and time, and this language still resides in our subconscious world of dreams. While expository writing necessitates so-called logical, grammatically correct sentences that grow into coherent, well-developed paragraphs integrated by a thesis, this type of writing should not exclude the multivalent nature of experience, of our bodies, our dreams and our environments. Clarity in expository writing is important so you must redefine words in the context in which you are using them but it's okay to struggle with solutions, to end with answers and to obfuscate a cause-effect relationship with a provocative "what if?" "

- Julia L. Keefer