Value for Wednesday of Week 36 in the season of Fulfillment

Being Resourceful and Innovative – Discovering and Inventing

RESOURCEFULNESS and INNOVATION as PERSONAL ATTRIBUTES: Resourcefulness is creativity in action. It is taking the available resources, using them to the fullest and thereby finding an answer or invention or a new discovery that was previously unseen. “-fulness” is key: the answer was available all along but by making fuller use of the resources their potential becomes realized in innovation.

HISTORY of INNOVATION: The story of human progress in science, technology, the arts and other fields is a major dynamic in the broad field of study we call history. “We don’t have to reinvent the wheel” but having the wheel gives us an essential technological resource that paves the way to inventing other things, such as the chariot and the automobile. This interplay between resourcefulness, innovation and desire often takes unexpected turns: our innovations can inspire more innovations or lead to complacency. In the broad scheme of human history, however, there is no doubt that innovation has led to more innovation and to the expression of resourcefulness in new and more sophisticated ways.

Real

True Narratives

Great inventors and discoverers:

Histories of innovation and invention:

Other narratives on resourcefulness:

Technical and Analytical Readings

Technological progress, the fruit of resourcefulness and innovation on a grand scale:

Photographs

Documentary and Educational Films

Imaginary

Fictional Narratives

It was thought that he must, in the past, have lived a country life, since he knew all sorts of useful secrets, which he taught to the peasants. He taught them how to destroy scurf on wheat, by sprinkling it and the granary and inundating the cracks in the floor with a solution of common salt; and how to chase away weevils by hanging up orviot in bloom everywhere, on the walls and the ceilings, among the grass and in the houses.  He had "recipes" for exterminating from a field, blight, tares, foxtail, and all parasitic growths which destroy the wheat. He defended a rabbit warren against rats, simply by the odor of a guinea-pig which he placed in it.  One day he saw some country people busily engaged in pulling up nettles; he examined the plants, which were uprooted and already dried, and said: "They are dead. Nevertheless, it would be a good thing to know how to make use of them. When the nettle is young, the leaf makes an excellent vegetable; when it is older, it has filaments and fibres like hemp and flax. Nettle cloth is as good as linen cloth. Chopped up, nettles are good for poultry; pounded, they are good for horned cattle. The seed of the nettle, mixed with fodder, gives gloss to the hair of animals; the root, mixed with salt, produces a beautiful yellow coloring-matter. Moreover, it is an excellent hay, which can be cut twice. And what is required for the nettle? A little soil, no care, no culture. Only the seed falls as it is ripe, and it is difficult to collect it. That is all. With the exercise of a little care, the nettle could be made useful; it is neglected and it becomes hurtful. It is exterminated. How many men resemble the nettle!" He added, after a pause: "Remember this, my friends: there are no such things as bad plants or bad men. There are only bad cultivators." [Victor Hugo, Les Misérables (1862), Volume I – Fantine; Book Fifth – The Descent Begins, Chapter III, “Sums Deposited with Laffitte”.]

Novels:

Poetry

Music: Composers, artists, and major works

In contemporary “classical” music, several organizations and record labels are devoted to new music emphasizing creativity. These include:

Franz Joseph Haydn is widely credited with the invention of the string quartet, which has become among the most popular forms of classical music. He came upon the form by accident, when a nobleman requested a composition for the musicians he had available: two violinists, a violist and a cellist..Haydn composed seventy-seven string quartets under fifteen opus numbers, changing chamber music forever. Haydn’s string quartets retain the divertimenti style through Opus 17 but Opus 9 marks leap forward from the earlier works, allowing us to hear the master’s invention of string quartet in progression. 

Op. 9 (1769) (approx. 134’)

  • Quartet No. 11 in D minor, Op. 9, No. 4, FHE No. 16, Hob. No. III:22 (approx. 23’);
  • Quartet No. 12 in C Major, Op. 9, No. 1, FHE No. 7, Hob. No. III:19 (approx. 23’);
  • Quartet No. 13 in G Major, Op. 9, No. 3, FHE No. 9, Hob. No. III:21 (approx. 19’);
  • Quartet No. 14 in E Major, Op. 9, No. 2, FHE No. 8, Hob. No. III:20 (approx. 21’);
  • Quartet No. 15 in B Major, Op. 9, No. 5, FHE No. 17, Hob. No. III:23 (approx. 26’);
  • Quartet No. 16 in A Major, Op. 9, No. 6, FHE No. 18, Hob. No. III:24 (approx. 22’). 

Op. 74 (“Apponyi” quartets, set 2, 1793) (approx. 80’)

Op. 77 (“Lobkowitz” quartets, 1799) (approx. 62’)

Opus 81: Quartet No. 68 in D minor (unfinished) (approx. 10’); Op. 103, Hoboken No. III:83 (incomplete, 1803) (approx. 11’)

Violinist Patricia Kopatchinskaja pushes boundaries, in playing and in presentation. Kopatchinskaja is known “for ‘alarmingly innovative’ (LA Times) musical interpretation that ‘excites and puzzles’ (New York Times) . . .” “She’s also a fascinating and innovative musical thinker, always ready to take a new approach to familiar repertoire.” She explains one of her methods: “I often help myself to escape routine by staging the piece in my head, writing a story, designing costumes, stage-setting, figures, asking how can I make it understandable even for a small child so that he doesn’t lose his attention, so that an old person doesn’t fall asleep and so that a young person comes again. It needs a new voice, language, ear and eyes in order to wipe off the dust from our classical temples.” Here is a link to her playlists, and to her performing live.

Conductor Leopold Stokowskiwas the innovative and charismatic conductor of the Philadelphia Orchestra  from 1912 to 1941 and was an influential figure in music-making through much of the twentieth century.” “Of all symphonic conductors in the 20th Century, Leopold Stokowski was the one most concerned with audio advancement. He made the first electrical recording of a complete symphony (1924), was the first to experiment with stereo (1931) and, most extravagant, developed in ‘Fantasia’ the first multichannel sound system for movies (1940).” “He elicited a distinctly silken string sound. He innovated on the style of performance and mesmerized his listeners with the expressive painterly gestures of his hands (he used no baton), his dashing profile, his shock of flowing hair, and his elegant presence.” He is the subject of a book by William Ander Smith. Here are links to his releases, his playlists, a documentary film, and a video of his conducting.

Engelbert Humperdinck, Hänsel and Gretel (1893) (approx. 105-110’): two children use their wits to survive. The opera is modeled on the Grimm fairy tale. Top performances with video are by Gruberova & Fassbaender (Solti) in 1981; and Damm & Ullmann (Gurgel) in 1981. Top audio-only recorded performances are by Springer & Hoff (Suitner) in 1970; Moffo & Donath (Eichhorn) in 1981; and von Otter & Bonney (Tate) in 1989 ***.

Other works, from other composers:

Gebhard Ullmann and Basement Research have created albums whose titles suggest invention of the tangible and the abstract:

Praised as heirs of amazonic psychedelia and chicha traditions, as well as innovators, Bareto’s concerts should be promoted as dance parties.” Their instrumentation and style are fascinating and addictive. Here are links to their releases, their playlists, and some videos.

Other albums:

Music: songs and other short pieces

Visual Arts

Film and Stage

This Is Our Story

A religion of values and Ethics, driven by love and compassion, informed by science and reason.

PART ONE: OUR STORY

First ingredient: Distinctions. What is the core and essence of being human? What is contentment, or kindliness, or Love? What is gentleness, or service, or enthusiasm, or courage? If you follow the links, you see at a glance what these concepts mean.

PART TWO: ANALYSIS

This site would be incomplete without an analytical framework. After you have digested a few of the examples, feel free to explore the ideas behind the model. I would be remiss if I did not give credit to my inspiration for this work: the Human Faith Project of Calvin Chatlos, M.D. His demonstration of a model for Human Faith began my exploration of this subject matter.

A RELIGION OF VALUES

A baby first begins to learn about the world by experiencing it. A room may be warm or cool. The baby learns that distinction. As a toddler, the child may strike her head with a rag doll, and see that it is soft; then strike her head with a wooden block, and see that it is hard. Love is a distinction: she loves me, or she doesn’t love me. This is true of every human value:

justice, humility, wisdom, courage . . . every single one of them.

This site is dedicated to exploring those distinctions. It is based on a model of values that you can read about on the “About” page. However, the best way to learn about what is in here is the same as the baby’s way of learning about the world: open the pages, and see what happens.

ants organic action machines

Octavio Ocampo, Forever Always

Jacek Yerka, House over the Waterfall

Norman Rockwell, Carefree Days Ahead

WHAT YOU WILL SEE HERE

When you open tiostest.wpengine.com, you will see a human value identified at the top of the page. The value changes daily. These values are designed to follow the seasons of the year.

You will also see an overview of the value, or subject for the day, and then two columns of materials.

The left-side column presents true narratives, which include biographies, memoirs, histories, documentary films and the like; and also technical and analytical writings.

The right-side columns presents the work of the human imagination: fictional novels and stories, music, visual art, poetry and fictional film.

Each entry is presented to help identify the value. Open some of the links and experience our human story, again. It belongs to us all, and each of us is a part of it.

latest from

The Work on the Meditations