Takashi Iba's keynote slide at Ecological Memes Forum 2021
1. 人と自然が共繁栄していく創造社会
- 中空, 混沌, 無から立ち現れるもの -
慶應義塾大学総合政策学部 教授 / 博士(政策・メディア)
Iba, Takashi
井庭 崇
Creative Society in the Age of Symbiosis:
Emergence through Non-Self, Chaos, Ku
Ecological Memes Forum 2021
Professor at Faculty of Policy Management, Keio University
Ph.D in Media and Governance
* Special Thanks to Sae Adachi for cooperating with the English translations
2. Takashi Iba
井庭 崇
博士(政策・メディア)
慶應義塾大学SFC 総合政策学部 教授
慶應義塾大学クリエイティブ・ラーニング・ラボ 代表
株式会社クリエイティブシフト 代表取締役社長
国際学術NPO組織 The Hillside Group 理事
一般社団法人 みつかる+わかる 理事
CreativeShift
The Pattern Language Company
Ph.D in Media and Governance
Professor at the Faculty of Policy Management, Keio University
Director of Creative Learning Lab, Keio University
President of CreativeShift Lab Inc.
Board member of The Hillside Group
Board member of MITSUKARU+WAKARU
Dr. Iba focuses on creation and proposed Creative Systems Theory and the Principles of Deep Creation,
based on autopoietic systems theory, phenomenology, pragmatism, and Eastern philosophy. He envisions
“Creative Society” as the next society after the current Information Society, and contributes to practical
research that supports “Natural and Creative Living,” where each person exhibits creativity on a daily basis.
Furthermore, he creates numerous pattern languages related to creative human actions in collaboration
● 創造の研究
● 一人ひとりが持つ日常的な「自然な創造性」(Natural Creativity)の支援
● 「ナチュラルな創造社会」を支えるメディア(パターン・ランゲージ)をつくる
10. 深い創造の原理
1. 無我の創造
Principles of Deep Creation
製造ではなく有機的生成
対立を解消した調和的秩序
生命 = 生活 = 人生を
生きる創造
Creation in the several
layers of ‘life’
4. 未知なる冒険
2. 全体を育てる
3. 内側から感じる
5. あるべきかたち
6. 本質表現の徹底
7. 生と創造の円環
Egoless Creation
Nurturing the Whole
True Adventure
Feeling from the Inside
Searching for an Ideal Form
Thorough Expression of
the Essence
Circular flow between
life and creation
Organic generation
rather than
factory production
Realizing harmonious
order by resolving
inner and external conflicts
11. 深い創造の原理
1. 無我の創造
Principles of Deep Creation
製造ではなく有機的生成
対立を解消した調和的秩序
生命 = 生活 = 人生を
生きる創造
Creation in the several
layers of ‘life’
4. 未知なる冒険
2. 全体を育てる
3. 内側から感じる
5. あるべきかたち
6. 本質表現の徹底
7. 生と創造の円環
Egoless Creation
Nurturing the Whole
True Adventure
Feeling from the Inside
Searching for an Ideal Form
Thorough Expression of
the Essence
Circular flow between
life and creation
Organic generation
rather than
factory production
Realizing harmonious
order by resolving
inner and external conflicts
13. 「結末を想定している場合もあるが、作中人物を自分の思いどおりに
操ったことは一度もない。逆に、すべてを彼らにまかせている。予想
どおりの結果になることもあるが、そうではない場合も少なくな
い。」
スティーヴン・キング, 『書くことについて』, 小学館, 2013
Stephen King, On Writing: A Memoir of the Craft, Pocket Books, 2002
スティーヴン・キング
‘I often have an idea of what the outcome may be, but I have never
demanded of a set of characters that they do things my way. On the
contrary, I want them to do things their way. In some instances, the
outcome is what I visualized. In most, however, it’s something I never
expected’.
Stephen King
14. 小川洋子, 『物語の役割』, 筑摩書房, 2007
小川 洋子
「作家はその作品の一から百まで、全部自分一人の責任で書いている
のだから、自分の思いどおりにできるじゃないか、と思われるかもし
れませんが、実はそうではありません。・・・「こっちへいこう、こ
ういうふうに世界を広げていこう」という、物語自身が持っている力
に導かれないと小説は書けないと思います。」
“People may believe that because the writer can is solely responsible for
their entire work, from beginning to end, they can do whatever they want.
… However, this is not the case. I believe it is impossible to write a novel
without being guided ‘Let’s go this way, let’s expand the world in this
way’ by the power of the story itself.”
Yoko Ogawa
*translated to English by Sae Adachi for this presentation.
15. 「映画は映画になろうとする。作り手は実は映画の奴隷になるだけ
で、作っているのではなく、映画につくらされている関係になるの
だ」
「一旦決めて映画作りだすと、映画作ってるんじゃないですね。映
画に作らされるようになるんです。」
“once you have decided to make your film, you’re not really making the
film --- it will be making you.”
‘The film tries to become a film. The filmmaker just becomes a slave to
the film. The relationship is not one of me creating the film, but rather of
the film forcing me to create it’.
宮崎 駿
Hayao Miyazaki
宮崎駿, 『出発点 1979~1996』, 徳間書店, 1996
Miyazaki, H., Starting Point: 1979-1996, translated by Beth Cary and Frederik L. Schodt, VIZ Media,2006.
16. 宮本輝, 吉本ばなな, 『人生の道しるべ』, 集英社, 2015
「無から有を生み出すのは、一見すごく自由なことですが、全然自由
じゃないんですよ。少しでもそのやってきた生命に逆らうことをする
と、それ以上書き続けられなくなるし。だから神経を研ぎ澄ませて、小
説を書く。」
吉本 ばなな
“Creating something out of nothing seems to be very free and
unbounded, but it’s actually not at all. If I do anything even slightly
against the life that has come before me, I won’t be able to continue
writing. So I sharpen my senses, and write novels.”
Banana Yoshimoto
*translated to English by Sae Adachi for this presentation.
19. 「頭の中でこんな曲にしようと考えている段階は、あくまで入り口で
しかない。作曲の本質は、もっと無意識の世界に入り込んで、カオス
の中で自分でも想像していなかった自分に出会うところにある。つく
ろう、つくろうという意識が強いときは、まだ頭で考えようとしてい
るのだと思う。」
久石 譲
“If you are trying to create the music inside your head, you are only at
the very beginning stage. What is essential in the composing process is to
dive deep into a state of unconsciousness and discover yourself within the
chaos as you would have never imagined. If you have to consciously force
yourself to create something, it most likely means that you are still
thinking inside your head."
*translated to English by Ayaka Yoshikawa for the paper (Iba and Yoshikawa, PURPLSOC2017)
久石 譲, 『感動をつくれますか?』, 角川書店, 2006
Joe Hisaishi
24. 「このような無我の建物をつくるには、意図的なイメージをすべて
捨て去り、まず頭を空にして始めねばならない。」
クリストファー・アレグザンダー, 『時を超えた建設の道』, 平田翰那(訳), 鹿島出版会, 1993
クリストファー・アレグザンダー
To make a building egoless, like this, the builder must let go of all his
willful images, and start with a void. …. you must start with nothing
in your mind”
Christopher Alexander
Christopher Alexander, The Timeless Way of Building, Oxford University Press, 1979
「それには、何も起こらないのではないかという恐怖を克服しな
ければ、自分のイメージを捨て去ることはできない。」
“You are able to do this only when you no longer fear that nothing will
happen, and you can therefore afford to let go of your images”
くう
27. マインドフルネスと「青空」
鎌倉一法庵住職 山下 良道さん
Mindfulness and `blue sky’
Ven. Ryodo Yamashita, Sudhammacara Bhikku,
Chief priest of Ippoan-temple and practice leadership
of One Dharma Forum
33. 「作家がしなければならないのは、ストーリーに成長の場を与え、そ
れを文字にすることなのである。」
“The job of the writer is to give them a place to grow (and transcribe them,
of course).”
スティーヴン・キング, 『書くことについて』, 小学館, 2013
Stephen King, On Writing: A Memoir of the Craft, Pocket Books, 2002
スティーヴン・キング
Stephen King
36. 「花が種から生成されるだけで、人為的にそれをつくれないのと同じ」
「それは、胎児の進化のように全体が部分に先行し、実際には分裂
によって部分を生み出していく展開のプロセスである。」
クリストファー・アレグザンダー, 『時を超えた建設の道』, 平田翰那(訳), 鹿島出版会, 1993
クリストファー・アレグザンダー
Christopher Alexander
Christopher Alexander, The Timeless Way of Building, Oxford University Press, 1979
「生きている花をつくろうとしたら、方法は一つしかない ̶̶ ま
ず花の種そのものを組み立てて、あとは種が花を生成していくにま
かせるしかないのである。」
“If you want to make a living flower, there is only one way to do it ̶̶
you will have to build a seed for the flower and then let it, this seed,
generate the flower.”
“just as a flower cannot be made, but only generated from the seed.”
“a process of unfolding, like the evolution of an embryo,
in which the whole precedes its parts, and actually gives
birth to them, by splitting.”
37. “There is a problem that our children, more like most of the generations
after mine, grew up in the city and have had very little experience with
agriculture and little exposure to living animals and plants. This means
that they are creating a culture within themselves that has nothing to do
with how we raise and acclimate animals and plants, or the way our
ancestors raised and acclimated them. In concrete terms, at the beginning
of this century, 80 percent of the population of France were
farmers. Now there are only 10 percent.
Isn’t the situation the same in Japan?”
「われわれの子どもたち、いや、私以降の世代の大半が都会育ちで、農
業の経験も動物や植物の生に触れるような体験も非常に少ない、とう問
題がありました。つまり彼らは、動物や植物や、父祖伝来の動植物の育
て方、馴らし方と無関係の文化を自らのうちにつくりあげているので
す。具体的に言えば、今世紀初頭にはフランスの人口の八〇パーセント
は農民でした。それがいまでは一〇パーセントにすぎない。事情は日本
でも同様ではありませんか?」
中沢新一, 『惑星の風景 中沢新一対談集』, 青土社, 2014
ミシェル・セール
Michael Serres
*translated to English by Sae Adachi for this presentation.
38. “Whether you were a writer, a philosopher, or a sociologist, almost
everyone had a direct experience of agriculture at the beginning of this
century, but no one has such an experience today. In other words, it could
be said that the biggest problem and the most important incident of the
20th century is the disappearance of agriculture as a model of thought.”
「作家であれ哲学者であれ社会学者であれ、今世紀初頭にはほとんど万
人が農業を直接に体験していたのに、現在では誰もそんな体験をしてい
ない。すなわち二〇世紀最大の問題、最重要の事件は、思想のモデルと
しての農業の消失だとさえ言えると思います。」
中沢新一, 『惑星の風景 中沢新一対談集』, 青土社, 2014
Michael Serres
*translated to English by Sae Adachi for this presentation.
ミシェル・セール
40. 先行きが不透明ななか、探索的に進んでいく
内側から感じる
Feeling from the Inside
深い創造の原理 3
製造ではなく有機的生成
Organic generation rather than factory production
Becoming the object you are creating and feel it from the inside.
Principle of Deep Creation #3
42. 千住博, 『千住博の美術の授業――絵を描く悦び』, 光文社, 2004年
「私が滝だったらこう流れたい、その声に耳を傾け、私は制作を続け
るのです。それは予定通りいったためしは一度たりとてありません。
私の考えをはるかに超えたところで作品は作品になったり、ならな
かったり、流れ続けるのです。」
千住 博
「滝を描くときは私は滝になっている」
“When I paint a waterfall, I become a waterfall.”
Hiroshi Senju
*translated to English by Sae Adachi for this presentation.
“I listen carefully to the voices that tell me how I would want to flow if I
were a waterfall, and I continue to create. And never have any of those
attempts have gone as planned. It is far beyond my imagination when a
work of art becomes a work of art, or not, continuing to flow. ”
43. 「物事をよく見て理解したければ、対象に入りこみ、それとひとつに
ならなくてはなりません。外側にいて眺めているだけでは、真に見て
理解することは不可能です。観察とは、入りこんで、変化させる働き
です。」
ティク・ナット・ハン
“If you want to see and understand, we have to penetrate and become one
with the object. If we stand outside of it in order to observe it, we cannot
really see and understand it. The work of observation is the work of
penetrating and transforming.”
“Only when we penetrate an object and become one with it can we
understand. It is not enough to stand outside and observe an object.”
「対象に入りこみ、それと一体になるとき、はじめて理解が訪れます。」
Thich Nhat Hanh, Transformation and Healing:
Sutra on the Four Establishments of Mindfulness, Parallax Press, 2006
ティク・ナット・ハン, 『ブッダの〈気づき〉の瞑想』, 新泉社, 2011
Thich Nhat Hanh
44. 「対象に十分に気づきながら深く観察するとき、観察する主体と観
察される客体の境界線はしだいに消えていき、両者は一体になりま
す。これが瞑想の核心です。」
“While we are fully aware of and observing deeply an object, the
boundary between the subject who observes and the object being
observed gradually dissolves, and the subject and object become one.
This is the essence of meditation.”
ティク・ナット・ハン
Thich Nhat Hanh, Transformation and Healing:
Sutra on the Four Establishments of Mindfulness, Parallax Press, 2006
ティク・ナット・ハン, 『ブッダの〈気づき〉の瞑想』, 新泉社, 2011
Thich Nhat Hanh
47. Kitaro Nishida, Japanese philosopher, proposed the concept of ’Pure
Experience’. Pure experience is an exact experience without clearly
distinguishing its subject and object. (in 1921)
Kitaro Nishida
(1870 – 1945)
‘I’
subject ‘flower’
object
Observation
from the outside
Pure Experience
For example, experiencing the feeling of “what a beautiful flower!”
should happen before the understanding of "I (as subject) am looking
at this flower (as object), which is beautiful”. In other words, when
experiencing something, it is always beyond the dichotomy of
subject and object.
純粋経験
48. Kitaro Nishida, Japanese philosopher, proposed the concept of ’Pure
Experience’. Pure experience is an exact experience without clearly
distinguishing its subject and object. (in 1921)
Kitaro Nishida
(1870 – 1945)
‘I’
subject ‘flower’
object
Observation
from the outside
Pure Experience
For example, experiencing the feeling of “what a beautiful flower!”
should happen before the understanding of "I (as subject) am looking
at this flower (as object), which is beautiful”. In other words, when
experiencing something, it is always beyond the dichotomy of
subject and object.
純粋経験
49. John Dewey
(1859 – 1952)
William James
(1842 – 1910)
Pure Experience also discussed in Pragmatism
50. 「経験するというのは事実そのままに知るの意である。まったく自己の細
工を棄てて、事実に従うて知るのである。純粋というのは、普通に経験と
いっているものもその実はなんらかの思想を交えているから、毫も思慮分
別を加えない、真に経験そのままの状態をいうのである。」
“The experience means to know facts just as they are, know in accordance
with facts by completely relinquishing one’s own fabrication. What we
usually refer to as experience is adulterated with some sort of thought, so by
pure I am referring to the state of experience just as it is without the least
addition of deliberative discrimination.”
西田幾多郎, 『善の研究』, 講談社, 2006
Kitaro Nishida, An Inquiry into the Good, 1921, English edition, Yale University Press, 1990
西田 幾多郎
Kitaro Nishida
51. 「純粋経験は直接経験と同一である。自己の意識状態を直下に経験した
時、未だ主もなく客もない、知識とその対象とが全く合一している。。」
“pure experience is identical with direct experience. When one directly
experience one’s own state of consciousness, there is not yet a subject or an
object, and knowing and its object are completely unified.”
西田幾多郎, 『善の研究』, 講談社, 2006
Kitaro Nishida, An Inquiry into the Good, 1921, English edition, Yale University Press, 1990
西田 幾多郎
Kitaro Nishida
52. John Dewey
(1859 – 1952)
William James
(1842 – 1910)
Pure Experience also discussed in Pragmatism
53. 深い創造の原理
1. 無我の創造
Principles of Deep Creation
製造ではなく有機的生成
対立を解消した調和的秩序
生命 = 生活 = 人生を
生きる創造
Creation in the several
layers of ‘life’
4. 未知なる冒険
2. 全体を育てる
3. 内側から感じる
5. あるべきかたち
6. 本質表現の徹底
7. 生と創造の円環
Egoless Creation
Nurturing the Whole
True Adventure
Feeling from the Inside
Searching for an Ideal Form
Thorough Expression of
the Essence
Circular flow between
life and creation
Organic generation
rather than
factory production
Realizing harmonious
order by resolving
inner and external conflicts
60. “Feel first, then think.”
まず感じて、それから考えるようにする
潜在意識
顕在意識
feeling
thinking
egoless
dive into
subconscious
conscious
深層心理
subconscious deep
ego
Egoless Creation and Structure of Self
61. 「この生命の強度を測るとき、現代科学において慣例的な方法とみら
れている「客観的」手法は通用しません。実用的結果を得るため、私
たちは私たち自身を計測の器具としなければなりません。それは(必
然的に)人間の観察やその観察者による自身の内面の観察に依存して
しまうという新しい形態の計測方法なのです。」
“in order to measure this degree of life, it is difficult to use what, in
present-day science, are conventionally regarded as “objective” method.
Instead, to get practical results, we must use ourselves as measuring
interments, in a new form of measuring process which relies
(necessarily) on the human observer and that observer’s obstruction of
his or her own inner state.”
クリストファー・アレグザンダー, 『ザ・ネイチャー・オブ・オーダー:建築の美学と世界の本質
― 生命の現象』, 鹿島出版会, 2013
クリストファー・アレグザンダー
Christopher Alexander
Christopher Alexander, The Nature of Order, BOOK ONE: The Phenomenon of Life, The Center for Environmental Structure, 2002
62. 「私の提案する手法は、それゆえ現在受け入れられている観察方法とは
異なっています。それは一般的に言われる「直感」というものに直接結
びついており、またそれを観察技術という形式的なレベルにまで高める
ことなのです。自分の内面的なフィーリングや「全体性」について、計
測することが要請されます。これは観測をしている外部の世界の場に存
在する生命の強さを測るものとして使われます。」
“The method which I propose is therefore different from currently
accepted forms of observation. It goes directly to the intuitions which are
widely shared and raises them to a formal level as techniques of
observation. You are asked to record your own inner feeling, your own
inner wholeness ̶- and this is used then as the measure of the degree
of life in some system of the outer world you are observing.”
クリストファー・アレグザンダー, 『ザ・ネイチャー・オブ・オーダー:建築の美学と世界の本質
― 生命の現象』, 鹿島出版会, 2013
クリストファー・アレグザンダー
Christopher Alexander
Christopher Alexander, The Nature of Order, BOOK ONE: The Phenomenon of Life, The Center for Environmental Structure, 2002
64. “Feel first, then think.”
まず感じて、それから考えるようにする
潜在意識
顕在意識
feeling
thinking
egoless
dive into
subconscious
conscious
深層心理
subconscious deep
ego
Egoless Creation and Structure of Self
65. 深い創造の原理
1. 無我の創造
Principles of Deep Creation
製造ではなく有機的生成
対立を解消した調和的秩序
生命 = 生活 = 人生を
生きる創造
Creation in the several
layers of ‘life’
4. 未知なる冒険
2. 全体を育てる
3. 内側から感じる
5. あるべきかたち
6. 本質表現の徹底
7. 生と創造の円環
Egoless Creation
Nurturing the Whole
True Adventure
Feeling from the Inside
Searching for an Ideal Form
Thorough Expression of
the Essence
Circular flow between
life and creation
Organic generation
rather than
factory production
Realizing harmonious
order by resolving
inner and external conflicts
67. “I myself do not know what the storyline will be.”
「どんな物語になるかは僕自身にもわかりません。」
*translated to English by Ayaka Yoshikawa for the paper (Iba and Yoshikawa, PURPLSOC2017)
村上春樹, 『夢を見るために毎朝僕は目覚めるのです』, 文藝春秋, 2010
村上 春樹
Haruki Murakami
69. 創造の制約・ルールを手がかりに、パズルのピースをはめて詰めていく
あるべきかたち
Searching for an Ideal Form
深い創造の原理 5
対立を解消した調和的秩序
Realizing harmonious order
by resolving inner and external conflicts
Using the constraints and rules of creation as a guide,
fit and fill the pieces of the puzzle.
Principle of Deep Creation #5
70. 本質に迫り、それが象徴的に現れるように、徹底的に手直して磨き上げる
本質表現の徹底
Thorough Expression of the Essence
深い創造の原理 6
対立を解消した調和的秩序
Realizing harmonious order
by resolving inner and external conflicts
Get to the essence, and then thoroughly rework and refine it
so that it appears symbolic.
Principle of Deep Creation #6
71. 深い創造の原理
1. 無我の創造
Principles of Deep Creation
製造ではなく有機的生成
対立を解消した調和的秩序
生命 = 生活 = 人生を
生きる創造
Creation in the several
layers of ‘life’
4. 未知なる冒険
2. 全体を育てる
3. 内側から感じる
5. あるべきかたち
6. 本質表現の徹底
7. 生と創造の円環
Egoless Creation
Nurturing the Whole
True Adventure
Feeling from the Inside
Searching for an Ideal Form
Thorough Expression of
the Essence
Circular flow between
life and creation
Organic generation
rather than
factory production
Realizing harmonious
order by resolving
inner and external conflicts
72. 創造が自分を更新し、生命・生活・人生(life)が
創造の土壌となるような円環を生きる。
生と創造の円環
Circular flow between life and creation
深い創造の原理 7
生命 = 生活 = 人生を生きる創造
Creation in the several layers of ‘life’
Creating renews one’s Self, and living in a circular flow where life as
an organism, lifestyle, and lifetime become the earth of creation.
Principle of Deep Creation #7
78. 深い創造の原理
1. 無我の創造
Principles of Deep Creation
製造ではなく有機的生成
対立を解消した調和的秩序
生命 = 生活 = 人生を
生きる創造
Creation in the several
layers of ‘life’
4. 未知なる冒険
2. 全体を育てる
3. 内側から感じる
5. あるべきかたち
6. 本質表現の徹底
7. 生と創造の円環
Egoless Creation
Nurturing the Whole
True Adventure
Feeling from the Inside
Searching for an Ideal Form
Thorough Expression of
the Essence
Circular flow between
life and creation
Organic generation
rather than
factory production
Realizing harmonious
order by resolving
inner and external conflicts
81. 今は、能動/受動 を対に考える言語・思考 に慣れ親しんでいるが、
以前は、インド=ヨーロッパ語や、古代ギリシア語、サンスクリット語
などでは、能動/中動 が対になっていて、受動の感覚は無かった。
中動態 (middle voice)
能動態(active voice)/中動態(middle voice)
能動態(active voice)/受動態(passive voice)
We are now used to thinking in terms of active/passive language and
thought. However, in the past, in Indo-European, ancient Greek, Sanskrit,
and other languages, active and middle were paired, and there was no
sense of passivity.
82. 「能動と受動の対立においては、するかされるかが問題になる」
﹅ ﹅ ﹅ ﹅ ﹅ ﹅ ﹅
能動
active
受動
passive
行為
体験
能動/受動の区別
“Between active and passive, the question is whether to do or be done.”
國分功一郎, 『中動態の世界:意志と責任の考古学』, 医学書院, 2017
*translated to English by Sae Adachi for this presentation.
action
experience
Distinction between active and passive
83. 「能動態においては、動詞は、主辞に発して主辞の外で行われる過程を示
す。・・・中動態では、動詞は、主辞がその過程の座であるような過程を
示し、主辞の表わすその主体は内部にあるのである。」
「この定義は、問題になる動詞の意味上の性質とはかかわりなしに有効で
ある。状態の動詞も行為の動詞も、共に両方の類に現われる。」
“In the active, the verbs denote a process that is accomplished outside the
subject. In the middle, which is the diathesis to be defined by the opposition,
the verb indicates a process centering in the subject, the subject being
inside the process.”
“This definition is valid without regard to the semantic nature
of the verbs considered; verbs of condition and verbs of action
are alike represented in the two classes.”
É. バンヴェニスト, 『一般言語学の諸問題』, 岸本通夫 監訳, みすず書房, 1983
Emile Benveniste, Problems in General Linguistics, translated by Mary Elizabeth Meek, University of Miami Press, 1971
ミエール・バンヴェニスト
Émile Benveniste
86. 「主辞は、その過程の行為者であって同時にその中心なのである。主辞
〔の表す主体〕が、主辞自身の中で成し遂げられる何事か̶̶̶生まれ
る・眠る・寝ている・想像する・生長する、など̶̶̶を成し遂げるの
である。そして主辞は、まさしくみずからがその動作者である過程の内
部にいる」
“the subject is the center as well as the agent of the process; he achieves
something which is being achieved in him ̶- being born, sleeping, lying
[ helpless or dead ], imagining, growing, etc. He is indeed inside the process
of which he is the agent.”
É. バンヴェニスト, 『一般言語学の諸問題』, 岸本通夫 監訳, みすず書房, 1983
Emile Benveniste, Problems in General Linguistics, translated by Mary Elizabeth Meek, University of Miami Press, 1971
能動
active
出来事
中動
middle
出来事
能動/中動の区別
Distinction between active and middle
87. 「《能動》と《中動》という用語のかわりに《外態 diathèse externe》と
《内態 diathèse interne》という観念を用いることに定めるならば、この
範疇は、動詞形がになう範疇の群の中で容易にその必然性をとりもどす
ことになる。」
“if it is agreed to substitute the notion of “external diathesis” and “internal
diathesis” for the terms “active” and “middle,” the necessity for this category
will be more readily admitted among the notions the verbal from conveys.”
É. バンヴェニスト, 『一般言語学の諸問題』, 岸本通夫 監訳, みすず書房, 1983
Emile Benveniste, Problems in General Linguistics, translated by Mary Elizabeth Meek, University of Miami Press, 1971
能動
active
出来事
中動
middle
出来事
能動/中動の区別
Distinction between active and middle
外態
external diathesis internal diathesis
内態
89. Takashi Iba, "An Autopoietic Systems Theory for Creativity”,
Procedia - Social and Behavioral Sciences, Vol.2, Issue 4, 2010, pp.6610-6625
Collaborative Innovation Networks Conference 2009
Procedia
Social and
Behavioral
Sciences
www.elsevier.com/locate/procedia
COINs2009: Collaborative Innovation Networks Conference
An Autopoietic Systems Theory for Creativity
Takashi Ibaab
aMIT Center for Collective Intelligence, Cambridge MA, USA
bFaculty of Policy Management, Keio University, Japan
A
Ab
bs
st
tr
ra
ac
ct
t
In this paper, a new, non-psychological and non-sociological approach to understanding creativity is proposed.
The approach is based on autopoietic system theory, where an autopoietic system is defined as a unity whose
organization is defined by a particular network of production processes of elements. While the theory was
originally proposed in biology and then applied to sociology, I have applied it to understand the nature of
creation, and called it "Creative Systems Theory". A creative system is an autopoietic system whose element
is "discovery", which emerges only when a synthesis of three selections has occurred: "idea", "association",
and "consequence". With using these concepts, we open the way to understand creation itself separated from
psychic and social aspects of creativity. On this basis, the coupling between creative, psychic, and social
systems is discussed. I suggest, in this paper, the future of creativity studies, re-defining a discipline
"Creatology" for inquiring creative systems and propose an interdisciplinary field as "Creative Sciences" for
interdisciplinary connections among creatology, psychology, and so on.
Keywords; creativity; systems theory; autopoiesis; pattern language
1
1.
. I
In
nt
tr
ro
od
du
uc
ct
ti
io
on
n
In this paper, a new, non-psychological and non-sociological approach to understanding creativity
is proposed. The approach is based on autopoietic system theory, where an autopoietic system is
defined as a unity whose organization is defined by a particular network of production processes
of elements. While the theory was originally proposed in biology and then applied to sociology, I
have applied it to understand the nature of creation, and called it "Creative Systems Theory". A
creative system is an autopoietic system whose element is "discovery", which emerges only when a
synthesis of three selections has occurred: "idea", "association", and "consequence". With using
these concepts, we open the way to understand creation itself separated from psychic and social
aspects of creativity. On this basis, the coupling between creative, psychic, and social systems is
discussed. I suggest, in this paper, the future of creativity studies, re-defining a discipline
"Creatology" for inquiring creative systems and propose an interdisciplinary field as "Creative
Sciences" for interdisciplinary connections among creatology, psychology, and so on.
There are several reasons why study of creativity is pursued from so many angles today. First,
against the backdrop of the shift from labor-intensive work to knowledge-intensive work, many
people involved in business need to make full use of intelligence and creativity for obtaining
創造システム理論
Creative Systems Theory
90. 無我の創造(Egoless Creation)
井庭 崇, 「パターン・ランゲージによる無我の創造のメカニズム:オートポイエーシスのシステム理論による理解」,
7th Asian Conference on Pattern Languages of Programs(AsianPLoP2018) , 2018
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1. Introduction
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Page 1 of 21
Illuminating Egoless Creation with
Theories of Autopoietic Systems
Iba, Takashi, Faculty of Policy Management, Keio University, Endo 5322, Fujisawa,
Kanagawa, Japan, iba@sfc.keio.ac.jp
Yoshikawa, Ayaka, Faculty of Environment and Information Studies, Keio University, Endo
5322, Fujisawa, Kanagawa, Japan
Abstract:
This paper examines one of the most important but overlooked concepts in pattern language
theory; creation processes without the self (ego). Christopher Alexander, the inventor of the
pattern language concept and methodology, focused on a generative mechanism beyond the
individual designer level and claimed that creation originated from this basis. In this paper,
first, the similarities between Alexander’s arguments and those of fiction writers who claim
that, ‘the author does not intentionally create the story; the characters in the story act on their
own, and the story unfolds itself’ are examined under an ‘egoless creation’ concept. Then,
egoless creation is examined through the theories of autopoetic systems: Social Systems
Theory and Creative Systems Theory. It was found that egoless creation is a state in which
the chain of generated discoveries within a creative system is experienced by the psychic
system, that the patterns in a pattern language work primarily as `discovery media' within the
creative system, and that pattern language facilitates a structural coupling of the psychic and
the social systems. Through these analyses, this paper illuminates the egoless creation
concept from a systems theory perspective.
Keywords: Autopoiesis; Creation; Creative Systems Theory; Egoless; Pattern Language;
Social Systems Theory;
ISBN (tba)
www.purplsoc.org
Creative Commons Licence CC-BY-SA
Iba, T. and Yoshikawa, A. (2017) “Illuminating Egoless Creation with Theories of Autopoietic Systems,”
Pursuit of Pattern Languages for Societal Change conference 2017 (PURPLSOC2017), 2017
92. Iba, T. and Yoshikawa, A. (2017) “Illuminating Egoless Creation with Theories of Autopoietic Systems,”
Pursuit of Pattern Languages for Societal Change conference 2017 (PURPLSOC2017), 2017
「無我の創造」を創造システム理論で理解する
Explaining the mechanism of Egoless Creation
with Creative Systems Theory
93. 井庭 崇, 「パターン・ランゲージによる無我の創造のメカニズム:オートポイ
エーシスのシステム理論による理解」, 7th Asian Conference on Pattern
Languages of Programs(AsianPLoP2018) , 2018
Iba, T. and Yoshikawa, A. (2017) “Illuminating Egoless Creation with Theories
of Autopoietic Systems,” Pursuit of Pattern Languages for Societal Change
conference 2017 (PURPLSOC2017), 2017
Takashi Iba, An Autopoietic Systems Theory for Creativity”,
Procedia - Social and Behavioral Sciences, Vol.2, Issue 4, 2010, pp.6610-6625
http://web.sfc.keio.ac.jp/~iba/papers/PURPLSOC17_EgolessCreation.pdf
http://web.sfc.keio.ac.jp/~iba/sb/log/eid535.html
https://www.sciencedirect.com/science/article/pii/S1877042810011298
井庭 崇 編著, 鈴木 寛, 岩瀬 直樹, 今井 むつみ, 市川 力, 『クリエイティブ・ラーニング:
創造社会の学びと教育』, 慶應義塾大学出版会, 2019年
https://web.sfc.keio.ac.jp/~iba/books_j/#CreativeLearning
94. “Feel first, then think.”
まず感じて、それから考えるようにする
潜在意識
顕在意識
feeling
thinking
egoless
dive into
subconscious
conscious
深層心理
subconscious deep
ego
Egoless Creation and Structure of Self
95. C. Alexander, The Timeless Way of Building, Oxford University Press, 1979.
クリストファー・アレグザンダー, 『時を超えた建設の道』, 鹿島出版会, 1993
97. 「絶対的リアリティにおける〈道〉は無名である。」(『老子道徳経』第
三十二章)
井筒 俊彦
Toshihiko Izutsu
“The Way in its absolute reality has no name.” (Tao Te Ching, XLI.)
“The Way is hidden and nameless” (Tao Te Ching, XLI.)
「〈道〉は隠されており無名である。」(『老子道徳経』第四十一章)
井筒俊彦, 『東洋哲学の構造:エラノス会議講演集』, 深井義次 監訳, 慶應義塾大学出版会, 2019
Toshihiko Izutsu, The Structure of Oriental Philosophy: Collected Papers of the Eranos Conference, Keio University Press, 2008
106. 深い創造の原理
1. 無我の創造
Principles of Deep Creation
製造ではなく有機的生成
対立を解消した調和的秩序
生命 = 生活 = 人生を
生きる創造
Creation in the several
layers of ‘life’
4. 未知なる冒険
2. 全体を育てる
3. 内側から感じる
5. あるべきかたち
6. 本質表現の徹底
7. 生と創造の円環
Egoless Creation
Nurturing the Whole
True Adventure
Feeling from the Inside
Searching for an Ideal Form
Thorough Expression of
the Essence
Circular flow between
life and creation
Organic generation
rather than
factory production
Realizing harmonious
order by resolving
inner and external conflicts
107. 人と自然が共繁栄していく創造社会
- 中空, 混沌, 無から立ち現れるもの -
慶應義塾大学総合政策学部 教授 / 博士(政策・メディア)
Iba, Takashi
井庭 崇
Creative Society in the Age of Symbiosis:
Emergence through Non-Self, Chaos, Ku
Ecological Memes Forum 2021
Professor at Faculty of Policy Management, Keio University
Ph.D in Media and Governance
* Special Thanks to Sae Adachi for cooperating with the English translations