Since the outbreak of the Coronavirus disease 2019 (Covid-19), tremendous efforts have been made by scientists, health professionals, business people, politicians, and laypeople around the world. Covid-19 vaccines are one of the most crucial innovations that help fight against the virus. This paper attempts to revisit the Covid-19 vaccines production process by employing the serendipity-mindsponge-3D creativity management theory. Vaccine production can be considered an information process and classified into three main stages. The first stage involved the processes of absorbing (...) information (e.g., digital data and open science) and rejecting unhelpful information (e.g., misinformation and fake news) for effectively acquiring useful insights. Useful insights were later employed by experts, enterprises, governments, and international organizations through interdisciplinary coordinated efforts for developing vaccines within a short period. Finally, the appearance of multiple types of vaccines enabled more strategic options for vaccine distribution and administration. Findings from this vaccine creativity management process could be used as critical lessons for further improvements of vaccination programs. (shrink)

Previous studies on the follow-up effect of serendipity mostly focused on the positive effects and less on the negative effects. Therefore, the purpose of this article is to investigate the negative effect of serendipity on the purchase intention of unexpected products. To verify all hypotheses in this article, we used online and offline survey data in China. Three experimental results showed that serendipity contains a certain degree of uncertainty, which will cause consumers’ perceived risk and decrease the (...) purchase intention of unexpected products. Perceived risk plays a mediating role in the effect of serendipity on the purchase intention of unexpected products. Moreover, regulatory focus moderates the effect of serendipity on purchase intention of unexpected products. Specifically, for prevention-focused individuals, the negative effect of serendipity on the purchase intention of unexpected products is strengthened. For promotion-focused individuals, the negative effect of serendipity on the purchase intention of unexpected products is weakened. This article augments the understanding of the negative effects of serendipity and provides theoretical guidance and support for the management practice of marketers. (shrink)

Underestimated for a long time, serendipity is an increasingly recognized design principle of the infosphere. Being influenced by environmental and human factors, the experience of serendipity encompasses fundamental phases of production, distribution and consumption of information. On the one hand, design information architectures for serendipity increases the diversity of information encountered as well as users’ control over information processes. On the other hand, serendipity is a capability. It helps individuals to internalize and adopt strategies that increase (...) the chances of experiencing it. As such, the pursuit for serendipity can help to burst filter bubbles and weaken echo chambers in social media. The article reviews the literature on emerging issues surrounding serendipity in human–computer interactions. By doing so, it firstly presents the study of serendipity and the debate about its role in digital environments. Then, it introduces the main features of a preliminary architecture for serendipity. Finally, it analyzes from an interdisciplinary perspective the values that embraces and sustains. The conclusion is that serendipity can be conceived as an emerging design and ethical principle able to strengthen media pluralism and other emerging human rights in the context of online personalization. Main limitations and potential unintended consequences are also discussed. (shrink)

Thomas Nickles challenges my thesis that innovative discoveries can be based on deliberately chosen problems and research strategies. He suggests that all significant innovation can be seen as such only in retrospect and that its generation must be serendipitous. Here I argue in response that significant innovations can and do often arise from self conscious critical appraisal of orthodox practice combined with regulated though speculative abductive argumentation to alternative explanatory schemata. Orthodox practice is not based upon monolithic systems of belief (...) about the subject of inquiry. Rather major domains of scientific practice often are approached from different conceptualizations that provide grounds for critical dialectic and consilient empirical information. Abductive arguments that meet appropriate conditions of likelihood, probability and analogy are an important means of justifying allocating resources to innovative practices that have yet to produce products that can rival those of established orthodoxy. (shrink)

“Coca-cola Funds scientists Who shiFt Blame for Obesity Away from Bad Diets.” Thus began the August 9, 2015 New York Times article that alerted the public and the wider scientific community to the secret tactics the soda industry was using to protect its profits on a product known to harm health and contribute to the obesity epidemic, one of the leading public health crises of our day. Following the lead of the tobacco industry, Coca-Cola was funding leading exercise scientists to (...) promote the message that physical activity was the main solution to the obesity epidemic—a claim few obesity experts accept. The response was condemnation and a deeper appreciation of the political obstacles to regulating... (shrink)

Stem cell research is the product of cumulative, integrated effort between and within laboratories and disciplines. The many collaborative steps that lead to that special “Eureka moment”, when something that has been a puzzle perhaps for years suddenly become clear, is among the greatest pleasures of a scientific career. In this essay, the serendipitous pathway from first acquaintance with pluripotent stem cells to advanced cardiovascular models that emerged from studying development and disease will be described. Perhaps inspiration for later generations (...) of stem cell researchers simply to follow whatever they find interesting. (shrink)

Using contemporary insights from feminist critical theory and the literary image of synecdoche, we argue that transdisciplinary knowledge is productive because it “maximizes serendipity.” We draw on student learning experiences in a course on Gender and Science to illustrate how the dichotomous frameworks and part-whole correspondences that are predominant in much disciplinary discourse must be dismantled ifor innovative intellectual work to take place. In such a process, disciplinary presumptions interrogate and unsettle one another to produce novel questions and answers.

Scientists in anthropology, geography, and other fields within social sciences and humanities have long suggested that the environments in which people live deeply influence their cultural value systems and practices. Shota Shibasaki, Ryosuke Nakadai, and Yo Nakawake have built on this idea, demonstrating that local ecological characteristics shape the appearance of trickster animals in folklore. Based on their finding and the SM3D (Serendipity-Mindsponge-3D) knowledge management framework, we discuss how the individuals’ or groups’ ability to create cultural products depends on (...) the availability and accessibility of information from the surrounding environment. Due to biodiversity loss and climate change, such valuable resources for cultural creativity have been diminished. Thus, it is crucial to adopt biodiversity preservation and climate action as fundamental values of a progressive and humane culture. Only then can we continue to preserve and enhance the creative cultural capacity of society. (shrink)

Economics has evolved over time, and it helps to explain and shape the actors’ economic activities. Although economics is useful to humans’ lives, it is either failed or insufficient to justify many real-world cases, ranging from humans’ rapid and/or unpredictable progress in the information age to decision making-selecting mechanisms, optimization, gross domestic product (GDP) matter, and so on, raising concerns about contemporary economics’ significant limitations, inspiring us to rethink, redefine and reform it in new contexts. Fortunately, the mindsponge theory and (...) many disciplines have been formed recently, allowing me to develop a new branch of applied economics known as “mindspongeconomics – mindspongecon”. Mindspongecon refers to both rational and irrational thinking mechanism that employs the serendipity-mindsponge-3D knowledge management system (a special information processing system) based on dynamic core values to find high-value solutions/choices that can address many economics' shortcomings. From my perspective, it is time to update, learn, and apply this “new economics” to deal with global issues (e.g., inequality, climate change) and/or to achieve humankind’s long-term development goals. (shrink)

Abstract. Biology has been able to systematize and order its vast information through the theory of evolution, offering the possibility of a more engaged dialogue and possible integration with religious insights and emotions. Using Judaism as a focus, this essay examines ways that contemporary evolutionary theory offers room for balancing freedom and constraint, serendipity and intentionality in ways fruitful to Jewish thought and expression. This essay then looks at a productive integration of Judaism and biology in the examples of (...) co-evolution, environmental ethics, the place of humans within nature, the relationship of mind and brains, and the ways that individual and group identity blur. (shrink)

Working in academia is challenging, even more so for those with limited resources and opportunities. Researchers around the world do not have equal working conditions. The paper presents the structure, operation method, and conceptual framework of the SM3D Portal's community coaching method, which is built to help Early Career Researchers (ECRs) and researchers in low-resource settings overcome the obstacle of inequality and start their career progress. The community coaching method is envisioned by three science philosophies (cost-effectiveness, transparency spirit, and proactive (...) attitude) and established and operated based on the Serendipity-Mindsponge-3D knowledge (SM3D) management framework (i.e., mindsponge thinking and Bayesian Mindsponge Framework analytics serve as the coaching program's foundational theory and analytical tools). The coaching method also embraces Open Science's values for lowering the cost of doing science and encouraging the trainees to be transparent, which is expected to facilitate the self-correcting mechanism of science through open data, open review, and open dialogue. Throughout the training process, members are central beneficiaries by gaining research knowledge and skills, acquiring publication as the training's product, and shifting their mindsets from “I can't do it” to “I can do it,” and at the same time transforming a mentee to be ready for a future mentor's role. The coaching method is thus one of the members, for the member, by the members. -/- • The paper provides the structure, operation method, and conceptual framework of the SM3D Portal's community coaching method, which is built to help Early Career Researchers (ECRs) and researchers in low-resource settings overcome the obstacle of inequality and start their career progress. • The paper presents three major science philosophies envisioning the establishment and operation of scholarly community coaching. • The paper employs the mindsponge theory and BMF analytics to construct a conceptual framework explaining how an environment is created to help shift members’ mindsets from “I can't do it” to “I can do it.”. (shrink)

Design Cybernetics: Navigating the New Design cybernetics offers a way of looking at ourselves – curious, creative, and ethical humans – as self-organising systems that negotiate their own goals in open-ended explorations of the previously unknown. It is a theory of and for epistemic practices that is deeply committed to the autonomy of others and hence offers no prescriptive methodology. Design cybernetics describes design practice as inextricable from conversation – a way of enquiring, developing shared understanding and reaching the new (...) that harnesses reliable control as well as error and serendipity. Recognising circular causality, observer-dependency and non-determinability, design cybernetics extends beyond tenets of scientific research into the creative, ethical and aesthetic domain. From this perspective, design is not an ill-conceived subset of scientific research. Instead, scientific research emerges as a particularly restricted subset of the broader human activity of design. This volume offers a cross-section of design cybernetic theory and practice with contributions ranging across architecture, interior lighting studies, product design, embedded systems, design pedagogy, design theory, social transformation design, research epistemology, art and poetics, as well as theatre and acting. Addressing designers, design educators and researchers interested in a rigorous, practice-based epistemology, it establishes design cybernetics as a foundational perspective of design research. “This is a conceptually elegant, well structured, and comprehensive presentation of design cybernetics. It fills a gap in the literature of the field.” Ken Friedman, Chair Professor, Tongji University “This book offers a valuable and timely introduction to second-order cybernetics as society grapples with complex issues like climate change and rising inequality.” Joichi Ito, Director of the MIT Media Lab. (shrink)

This study looks at the relation between mathematical discovery and semiosis, focusing on the famous Fibonacci sequence. The serendipitous discovery of this sequence as the answer to a puzzle designed by Italian mathematician Leonardo Fibonacci to illustrate the efficiency of the decimal number system is one of those episodes in human history which show how serendipity, semiosis, and discovery are intertwined. As such, the sequence has significant implications for the study of creative semiosis, since it suggests that symbols are (...) hardly arbitrary products of human reason, but rather unconscious probes of reality. (shrink)

Creativity may be a trait, a state or just a process defined by its products. It can be contrasted with certain cognitive activities that are not ordinarily creative, such as problem solving, deduction, induction, learning, imitation, trial and error, heuristics and "abduction," however, all of these can be done creatively too. There are four kinds of theories, attributing creativity respectively to (1) method, (2) "memory" (innate structure), (3) magic or (4) mutation. These theories variously emphasize the role of an unconscious (...) mind, innate constraints, analogy, aesthetics, anomalies, formal constraints, serendipity, mental analogs, heuristic strategies, improvisatory performance and cumulative collaboration. There is some virtue in each, but the best model is still the one implicit in Pasteur's dictum: "Chance favors the prepared mind." And because the exercise and even the definition of creativity requires constraints, it is unlikely that "creativity training" or an emphasis on freedom in education can play a productive role in this preparation. (shrink)

Tentant de rompre avec une représentation de la sérendipité comme produit du hasard et de la chance relatifs à « l’esprit scientifique », il s’agit ici d’analyser comment la sérendipité peut être le produit d’une concordance des « temporalités de champs » résultant d’une combinatoire de temps d’habitus, d’activité et d’institution propres à chaque champ. Ces temporalités de champs rythmant leurs luttes pour le monopole de la pratique scientifique, elles constituent un point de concordance entre champs à partir desquels s’agencent (...) les conditions de production et d’identification d’une découverte « par sérendipité ». Une telle approche a, au reste, l’avantage de combler un point aveugle de la littérature sociologique et de proposer une analyse structuraliste du processus de découverte scientifique permettant de l’appréhender comme « pratique coordonnée d’institution ». (shrink)

Objective: Clock variance is an important statistic in many clinical and developmental studies. Existing methods require a large number of trials for accurate clock variability assessment, which is problematic in studies using clinical or either young or aged participants. Furthermore, these existing methods often implicitly convolute clock and memory processes, making it difficult to disentangle whether the clock or memory system are driving the observed deviations. Here we assessed whether twenty repeated productions of a well-engrained interval (1 second), a (...) task that does not incorporate memory updating nor the processing of feedback, could provide an accurate assessment of clock variability. Method: Sixty-eight undergraduate students completed two tasks: a 1-second production task in which they were asked to produce a 1-second duration by ending a tone by a keypress, and a multi-duration reproduction task. Durations presented in the reproduction task were tones lasting 1.17, 1.4 and 1.68 seconds. No feedback was presented in either task, and the order of presentation was counterbalanced between participants. Results: The observed central tendency in the reproduction task was better explained by models including the measures of clock variability derived from the 1-second production task than by models without it. Three clock variability measures were calculated for each participant (standard deviation, root mean squared residuals (RMSR) from an estimated linear slope, and RMSR scaled by mean production duration). The model including the scaled RMSR was prefered over the alternative models, and no notable effects of the order of presentation were observed. These results suggest that (1) measures of variability should account for drift, (2) the presentation of another timing task before a 1-second production task did not influence the assessment of the clock variability, and (3) the observed variability adheres to the scalar property and predicts temporal performance, and is thus a usable index of clock variability. Conclusion: This study shows that just 20 repeated productions of 1 second provide a reliable index of clock variability. As administering this task is fast and easy, it could prove to be useful in a large variety of developmental and clinical populations. (shrink)

The proposal of the research is to review and analyse the role of the media as constructors of social imaginaries, and to do so, we will analyse the power of the audiovisual industry to create and re-create stereotypes about lesbians, and as generators of a social imaginary, we will also analyse lesbian plots and characters, through which direct messages are sent to society in general, but also to lesbians.Finally, after conducting discussion groups and focus groups with lesbians who have participated (...) in the research, we present some conclusions. (shrink)

The master-servant and self-substance dialectic in Hegel’s Phenomenology of Spirit presents the self as reflectively negating the particularities of its natural consciousness and transcending towards the social substance in order to inscribe its culturally refined self-conception upon the universal substance. Hegel argues that the reflective and determinate negations of the subordinated self by means of participative cultural production (Bildung) lead to the overcoming of servitude and subordination. That is, the actions of the supposedly ‘inessential’ servant-selfhood lead to freedom and disallows (...) the ossification of the social substance. This Hegelian insight is employed in this article to understand dominations in contemporary liberal democracies, and the participative cultural productions of the Dalits and their politics of resistance in the Indian subcontinent. (shrink)

Kijkwijzer is the name of the new Dutch rating system in use since early 2001 to provide information about the possible harmful effects of movies, home videos and television programs on young people. The rating system is meant to provide audiovisual productions with both age-based and content-based ratings. It is designed to enable self-regulation by the audio-visual sector. The development of Kijkwijzer, which took place under the auspices of NICAM, the Netherlands Institute for the Classification of Audiovisual Media, is (...) based on consumer research among Dutch parents, as well as theories and research on children and the media. The consumer survey that preceded the development of Kijkwijzer revealed that 70% of Dutch parents indicated that they would use a rating system. The majority of parents liked to receive information on the content of media productions, particularly about violence, frightening content, sexual depictions, discrimination, drug abuse, and coarse language. Parents also wanted age categories. Kijkwijzer distinguishes four age categories: All Ages, 6, 12 and 16. This article gives an overview and account of the various principles underlying Kijkwijzer version 1.1. It also offers suggestions for improvement of future versions of Kijkwijzer. (shrink)

This article is devoted to the consideration of a number of stage projects by Chinese directors, in which the work of the writer Anton Pavlovich Chekhov is reinterpreted. Analysis of such productions and projects as the international drama festival "Chekhov Forever" in 2004, a hybrid work based on Chekhov's story "Three Sisters" and Beckett's novel "Waiting for Godot" by Lin Zhaohua in 1998 and 2018, a double performance by Stan Lai based on the works "I take You by the (...) Hand" by Carol Rocamora and "The Seagull" Chekhov 2014, etc. It allows us to trace innovative approaches to reading Chekhov's works in the context of the life of modern Chinese society. These works cause a great resonance not only in the professional environment, but also among the mass audience, who invariably penetrates the depth of Chekhov's images, the subtlest shades of emotional experiences; the Chinese audience finds themselves close to the problems, hopes and aspirations of the heroes, brilliantly transferred to the actual socio-cultural environment of China, always topical and recognizable. The scientific novelty of the article is connected with the fact that the nature of mastering the creativity of the Russian playwright in the theater of the East is a fairly new and at the same time promising topic for research. The conclusions and results of the study can become the basis for further studies of the specifics of the adaptation of foreign dramaturgy in the national theatrical tradition on the example of other countries and regions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 407-427 [Access article in PDF] Trying (on) Gender:Modern Greek Productions Of Aristophanes'Thesmophoriazusae Gonda Van Steen [Figures]Aristophanes' women in Thesmophoriazusaecomplain that Euripides has portrayed their gender in a bad light: by exposing typical female wrongdoings (to which they comically admit), he has made Athenian men distrust their wives. At their Thesmophoria festival, where they gather in an imitation-male assembly as in a male (...) trial court, the women are ready to sentence Euripides to death. 1 Or, as Euripides evaluates the situation:This very day it will be adjudged (krithesetai):shall Euripides live or shall he die?Kinsman:How could that be? The courts (dikasteria) aren't in session (dikazein) today and the Council isn't sitting.It's the middle day of Thesmophoria!Euripides:And that's exactly why I think I'm done for. (Ar. Thesm. 76-81, trans. Henderson) Once the women learn from Cleisthenes that their sacred festival space has been violated, they interrogate and physically examine Euripides' kinsman. This relative, dressed as a woman, has infiltrated the all-female ritual and trial proceedings to deliver an odd defense of Euripides. Mnesilochus tests and tries on the women's gender. Tests, trials, and tryouts are key themes of this paper, in which I argue that the original play's dynamics of trying and judging gender, gender-crossing, and feminist power are also the faultlines that have affected the modern Greek reception history of Aristophanes' Thesmophoriazusae. 2 [End Page 407]All the characters of the 411 B.C.E.Thesmophoriazusae, both female and male (whether Euripides, Mnesilochus, Cleisthenes, or Agathon), assess gender-bending figures and pass (formal or informal) judgment on them. Even though judging was an activity reserved for men in antiquity, both parties here evaluate each other and each other's appearances and acts, whether public or private, dramatic, literary, or sexual. On the modern Greek stage, this fantasy of judging the opposite or opposing sex, this plot of trying—and trying on—the other gender has been reworked in diverse ways. 3 On a metaphorical level, the modern Greek reception of Thesmophoriazusae frequently mirrored the offstage as well as onstage conditions of sex-based judging, and accepting or rejecting, that have characterized the play's internal dynamics. Thus, the study of the modern Greek revival tradition of Aristophanes' Thesmophoriazusae can shed light on ancient comedy production and enhance philologists' readings of the classical text, even though this tradition is not the result of a historically continuous process.My paper analyzes three trends in the Greek reception history of Thesmophoriazusae from the vantage point of judgment of, and prejudice against, women. It outlines an evolution from an antifeminist to a neutral to a feminist treatment of the original play. Only belatedly did the Greek male theater world deem women "worthy" enough (or "unworthy" enough—in some detractors' eyes) to participate in the making of the Aristophanic revival on stage, whether as actresses, spectators, or theater directors. Greek actresses, female theatergoers, and female stage producers faced real challenges of prejudice and prohibition before they were given access to the modern Greek revival tradition of Thesmophoriazusae. Most of these challenges resembled the problems and barriers to women posed by Greek revivals of Aristophanes' very popular Lysistrata and Ecclesiazusae. 4 But, as a comedy inspired by ancient women's rituals and carried by topical, literary, and paratragedic humor, Thesmophoriazusae especially evoked little interest among Greek stage directors, contemporary audiences, and critics. Between the years 1951 and 1998, there were only eight new productions of Thesmophoriazusae at either the Athens or the Epidaurus summer festivals, as opposed to nearly a dozen new productions [End Page 408] of Ecclesiazusae and approximately fifteen new productions (and numerous repeat performances) of Lysistrata. 5The long-perceived problem has been how to make Thesmophoriazusae, with all its idiosyncrasies, not only relevant but also amusing. Late twentieth-century directors, both in Greece and abroad, tend to look for a balance between adhering to the original text and updating the comedy's ritual, literary... (shrink)

‘Serendipity’ is a category used to describe discoveries in science that occur at the intersection of chance and wisdom. In this paper, I argue for understanding serendipity in science as an emergent property of scientific discovery, describing an oblique relationship between the outcome of a discovery process and the intentions that drove it forward. The recognition of serendipity is correlated with an acknowledgment of the limits of expectations about potential sources of knowledge. I provide an analysis of (...) serendipity in science as a defense of this definition and its implications, drawing from theoretical and empirical research on experiences of serendipity as they occur in science and elsewhere. I focus on three interrelated features of serendipity in science. First, there are variations of serendipity. The process of serendipitous discovery can be complex. Second, a valuable outcome must be obtained before reflection upon the significance of the unexpected observation or event in respect to that outcome can take place. Therefore, serendipity is retrospectively categorized. Third, the primacy of epistemic expectations is elucidated. Finally, I place this analysis within discussions in philosophy of science regarding the impact of interpersonal competition upon the number and significance of scientific discoveries. Thus, the analysis of serendipity offered in this paper contributes to discussions about the social-epistemological aspects of scientific discovery and has normative implications for the structure of epistemically effective scientific communities. (shrink)

Humankind is currently confronted with a critical challenge that determines its very existence, not only on an individual, racial, or national level but as a whole species: the fight against climate change and environmental degradation. To win this battle, humanity needs innovations and non-linear thinking. Nature has long been a substantial information source for unthinkable discoveries that save human lives. The paper suggests that by understanding the nature, emergence, and mechanism of serendipity, the survival skill of humans, humanity can (...) capitalize on it to learn from nature and generate nature-based innovations that can address the climate and environmental degradation crises. In the era of Artificial Intelligence (AI) proliferation, AI will be a vital tool providing navigational and useful information to leverage the power of serendipity in climate and sustainability science. However, an eco-surplus culture that incorporates core values pertaining to nature and sees environmental sustainability as the conscience of the times needs to be built to direct and control the immense power of AI-leveraged serendipity. Insights applied in this paper are drawn from the book titled “A New Theory of Serendipity: Nature, Emergence and Mechanism”. (shrink)

Cet article part d’un constat : certains objets produits par des IA génératives ressemblent à des œuvres d’art qui existent déjà et renversent de ce fait les problématiques liées à l’indiscernabilité entre l’art et le non-art. La facilité avec laquelle ces objets sont acceptés comme œuvre d’art semble reposer sur cette ressemblance qu’il s’agit dès lors d’interroger. Elle semble en effet subrepticement redonner de l’importance à l’objet et son apparence. Les productions issues d’IA permettent ainsi de réfléchir sur le (...) rapport que l’art contemporain entretient à ses objets. Une question symptomatique des pistes discutées est de savoir s’il est plus pertinent de considérer The Next Rembrandt comme une nouvelle peinture d’un Rembrandt virtuel ou comme une nouvelle œuvre appropriationniste d’une Elaine Sturtevant virtuelle. Une manière de répondre à cette question est d’insister sur la dimension immatérielle des œuvres et la différence à faire avec les objets qui les instancient, et ce afin d’éviter tout fétichisme. (shrink)

Opera is undoubtedly a particularly high and traditional genre of art, but recently there have been numerous attempts at breaking this stereotype and presenting opera in a contemporary light. The most popular way of achieving this aim is either staging modernized opera productions, i.e. transferring their plot from their traditional setting to the here and now, or considerably changing their interpretation. Staging modernized productions involves, first of all, the issue of stage design, and an alteration in the traditional (...) interpretation is mostly created by acting, but nowadays it is also the translation shown in the form of surtitles that creates the significance of operatic productions. (shrink)

In South Africa, race has been subverted by the fall of official apartheid. Specifically, the “invisibilization” of black others is overturned and white-black relationality problematized, thereby deeply troubling whiteness. However, the logic of race continues to reverberate through social relations against a global backdrop in which this category proves remarkably adaptable as purveyor of inequality. The end of official apartheid is not the end of the power effects of the apartheid discourse. The postapartheid field is a site of contestation over (...) previously normalized hierarchies, including over gender and class. Applying a discourse analysis to texts generated in research interviews with respondents who self-identified as women, white, Afrikaans-speaking, and middle class, this study finds attempts at re-securing race. First, the strategy of “elision and misattribution” seeks to recuperate apartheid's racial binaries to bolster present-day whiteness. Second, “intersectional shifting” of social markers aims at ameliorating the secondary status of femininity through the wielding of whiteness and middle classness. These strategies are complicated by affective practices. Particularly the social emotion shame holds transformative potential, but with a caveat. Shame brings self into relation with the other and the social and can usher white subjects into an expanded conception of being human, but only if acknowledged. (shrink)

When you type the word “serendipity” in a word-processor application such as Microsoft Word, the autocorrection engine suggests you choose other words like “luck” or “fate”. This correcting act turns out to be incorrect. However, it points to the reality that serendipity is not a familiar English word and can be misunderstood easily. Serendipity is a very much scientific concept as it has been found useful in numerous scientific discoveries, pharmaceutical innovations, and numerous humankind’s technical and technological (...) advances. Therefore, there have been many books written around the concept. So why do we need this additional book? This is not just another book about serendipity. It has evolved from the Editor’s question lingering for a decade after finishing his widely cited article (coauthored with Prof. Nancy K. Napier of Boise State University, ID, USA) “Serendipity as a strategic advantage?” in T. Wilkinson’s edited volume Strategic Management in the 21st Century, published by Praeger. The Editor and contributing authors have tried to achieve the following in this title. Demystifying the Serendipity Myth The phenomenon of serendipity has always been thought of as a “miracle”. It is the mystery of human innovation and one of the ultimate secrets of our society. But serendipity is not just a lucky coincidence nor any hidden conspiracy. This book explores the science of the information process behind this seemingly miraculous phenomenon. It connects human society with nature, going back to the root of our existence and looking at the flame of survival to discover the harmony in making creativity. Presenting the nuts and bolts of being an adventurer of science The authors present their conceptual investigations into serendipity’s nature and its mechanism by examining interesting real events and stories. The content is thought-provoking, and readers are led to question and explore their own life stories and problems along the journey of reading this book. Catching an elusive high-value target requires great strategies and efforts. But there are no dark secrets here because this is the “way of nature” – how we humans have always strived for innovation without realizing the blueprints behind such processes. Unlike other books on serendipity, this book will show you that a powerful “secret” is closer than you think. Delivering practical uses for different audiences By understanding the conditionality and survival drivers of serendipity, individuals or organizations can make better decisions on creating the right environment to facilitate the encounter and attainment of this valuable phenomenon. For scientists: With clear explanations of the information processes underlying serendipity, flexible theoretical frameworks of mindsponge and the 3D principle of creativity, researchers are provided with the tools they need to dig deeper into their own fields of study and find practical applications, be it psychology, economics, sociology, or anything that involves innovation (which is, in fact, every scientific discipline). For curious casual readers: Everybody needs innovation to make breakthroughs or spice up one’s life. If you think great ideas come to people randomly from an unknown fairy place, this book will convince you otherwise without taking away that awe and wonder. But above all, you will know how to become more creative, scientifically and straightforwardly, with no snake oil and no weird tricks. For ambitious business people: The flame that brought about great successes throughout human history is within you. But you can only use it if you understand it. While others wait for serendipity to come, you will be able to actively hunt for those precious moments. As it has always been: the best hunters triumph, not the passive wanderers. And in this age of information chaos, finding the golden fruits is not easy. Those from information technology know this problem well, and this book is the treasure map that they have been seeking to navigate that stormy ocean looking for jewels. Like a kingfisher tracking its prey through the water, waiting to gracefully strike, with serendipity, a person seizes the prize of creativity amid the chaos of life. ¤ ¤ ¤ Official introduction: The book explores the nature, underlying causes, and the information processing mechanism of serendipity. It proposes that natural or social survival demands drive serendipity, and serendipity is conditional on the environment and the mindset, on both individual and collective levels. From Darwin's evolution theory to Sun Tzu's war tactics, major innovations throughout human history are unified by this key concept. In the rapidly changing world, information is abundant but rather chaotic. The adaptive power of serendipity allows people to notice treasures within this wild sea, but only for those who understand how it works. To increase the probability of encountering and attaining serendipity, one should employ the mindsponge mechanism and the 3D process of creativity, for without these frameworks, serendipity is truly an elusive target. The book also discusses methods to build environments and cultures rich in navigational and useful information to maximize the chance of finding and capitalizing on serendipity. As a skill, serendipity has a resemblance to how kingfishers observe and hunt their prey. (shrink)

This paper presents the manner in which the DNA, the molecule of life, was discovered. Unlike what many people, even biologists, believe, it was Johannes Friedrich Miescher who originally discovered and isolated nuclein, currently known as DNA, in 1869, 75 years before Watson and Crick unveiled its structure. Also, in this paper we show, and above all demonstrate, the serendipity of this major discovery. Like many of his contemporaries, Miescher set out to discover how cells worked by means of (...) studying and analysing their proteins. During this arduous task, he detected an unexpected substance of unpredicted properties. This new substance precipitated when he added acid to the solution and it dissolved again when adding alkali. Unexpectedly and by a mere fluke, Miescher was the first person to obtain a DNA precipitate. The paper then presents the term serendipity and discusses how it has influenced the discovery of other important scientific milestones. Finally, we address the question of whether serendipitous discoveries can be nurtured and what role the computer could play in this process. (shrink)