Pattern Match Quotes

Trying to write is very much like trying to put a Chinese puzzle together. We have a pattern in mind which we wish to work out in words; but the words will not fit the spaces, or, if they do, they will not match the design.

But pattern-matching doesn't equal comprehension.

That was what decades of marriage were for. Intimacy and pattern matching as a kind of telepathy.

Perhaps it is not such a bad marriage after all? There are innumerable marriages where two people, both twisted and wrong in their depths, are well matched, making each other miserable in the way they need, in the way the pattern of their life demands.

Diana gave her a measured look and ducked down behind the counter. She came up a moment later with a sword about the length of Clary's forearm. "What do you think of this?" Clary stared at the weapon. It was undoubtedly beautiful. The cross-guard, grip and pommel were gold chased with obsidian, the blade a silver so dark it was nearly black. "It's a shortsword. You might want to look at the other side," said Diana, and she flipped the sword over. On the opposite side of the blade, down the center ridge, ran a pattern of black stars. "Oh." Clary's heart thumped painfully; she took a step away and nearly bumped into Jace, who had come up behind her, frowning. "That's a Morgenstern sword." "Yes, it is." The sword-seller's eyes were shrewd. "Long ago the Morgensterns commissioned two blades from Wayland the Smith-a matched set. You have doubtless seen the the larger sword already, for Valentine Morgenstern carried it, and now his son carries it after him." "You know who we are," Jace said. It wasn't a question. "Who Clary is." "The Shadowhunter world is small," said Diana, and she looked from one of them to the other. "I'm on the Council. I've seen you give testimony, Valentine's daughter." Clary looked doubtfully at the blade. "I've seen two men bear the larger version of that sword, and I hated them both. There are no Morgensterns in this world now who are dedicated to anything but evil." Jace said, "There's you." "I'll give it to you," said Diana. "You're right that people hate the Morgensterns; it's not the sort of item I could sell elsewhere. Or would necessarily want to. It should go to good hands." "I don't want it," Clary said. "If you flinch from it, you give it power over you," said Diana. "Take it, and cut your brother's throat with it, and reclaim the honor of your blood.

A key ingredient to achieving your goals is to make sure your goals are totally congruent with who you are as a person. Your head and hearts desire must match. It's such an important step in goal achievement and if we miss it, we can end up travelling a long way down the wrong path!

The scientific creation story has majesty, power and beauty. and is infused with a powerful message capable of lifting our spirits in a way that its multitudinous supernatural counterparts are incapable of matching. It teaches us that we are the products of 13.7 billion years of cosmic evolution and the mechanism by which meaning entered the universe, if only for a fleeting moment in time. Because the universe means something to me, and the fact that we are all agglomerations of quarks and electrons in a complex and fragile pattern that can perceive the beauty of the universe with visceral wonder, is, I think, a thought worth raising a glass to this Christmas.

Trying to write is very much like trying to put a Chinese puzzle together. We have a pattern in mind which we wish to work out in words; but the words will not fit the spaces, or, if they do, they will not match the design. But we keep on trying because we know that others have succeeded, and we are not willing to acknowledge defeat.

He coordinated his socks and underwear," she commented when Peabody came back in. "Colors and patterns. Who does that, and why?" "I read this article about how what you wear under your clothes is all about what makes you feel empowered and in control. It's the Under You." "If wearing matching boxers and socks make you feel empowered, you're a weenie.

she started off with an inspiration, a brave and dazzling idea; from that moment on, her pleasure ran downhill. In the first place she could never find a pattern to suit her. It was no wonder; there were no patterns made to match the ideas that blossomed in her head.

The pattern match begins with a search for a substring of a given string that has a specified structure in the string manipulation language

Even in utero and after birth, for every moment of every day, our brain is processing the nonstop set of incoming signals from our senses. Sight, sound, touch, smell, taste—all of the raw sensory data that will result in these sensations enter the lower parts of the brain and begin a multistage process of being categorized, compared to previously stored patterns, and ultimately, if necessary, acted upon. In many cases the pattern of incoming signals is so repetitive, so familiar, so safe and the memory template that this pattern matches is so deeply engrained, that your brain essentially ignores them. This is a form of tolerance called habituation.

Things accumulated in purses. Unless they were deliberately unloaded and all contents examined for utility occasionally, one could find oneself transporting around in one's daily life three lipstick cases with just a crumb of lipstick left, an old eyebrow pencil sharpener without a blade, pieces of defunct watch, odd earrings, handkerchiefs (three crumpled, one uncrumpled), two grubby powder puffs, bent hairpins, patterns of ribbon to be matched, a cigarette lighter without fuel (and two with fuel), a spark plug, some papers of Bex and a sprinkling of loose white aspirin, eleven train tickets (the return half of which had not been given up), four tram tickets, cinema and theatre stubs, seven pence three farthings in loose change and the mandatory throat lozenge stuck to the lining. At least, those had been the extra contents of Phyrne's bag the last time Dot had turned it out.

In these cases, the police figure prominently in the incidents that triggered the rioting. Sometimes they are not directly involved, but rumors of police brutality flood through the ghetto. Although it may be of some interest to search for a pattern, no very profound purpose is served by concentrating on who struck the match. There are always matches lying around. We must ask why there was also a fuse and why the fuse was connected to a powder keg.

This is another way to make sense of that haunting sensation: to walk into a home and recognize, even if you can’t name the feeling, that someone else not only lived here but adopted patterns of life completely alien to your own, whose daily ritual and marks of wear will never match your own. Haunted houses are the repository of the dreams dreamt inside them—both our dreams and those of previous occupants. This can make even the most simple of houses feel, at times, alive.

The pajamas were patterned with red pinstripes and tiny blue escutcheons. Sammy was wearing a pair that had red escutcheons with blue pinstripes. That was Rosa's idea of fostering a sense of connection between father and son. As any two people who have ever dressed in matching pajamas will attest, it was surprisingly effective.

Were he now still among the living, Dr. Incandenza would now describe tennis in the paradoxical terms of what’s now called ‘Extra-Linear Dynamics.’ And Schtitt, whose knowledge of formal math is probably about equivalent to that of a Taiwanese kindergartner, nevertheless seemed to know what Hopman and van der Meer and Bollettieri seemed not to know: that locating beauty and art and magic and improvement and keys to excellence and victory in the prolix flux of match play is not a fractal matter of reducing chaos to a pattern. Seemed intuitively to sense that it was a matter not of reduction at all, but — perversely — of expansion, the aleatory flutter of uncontrolled, metastatic growth — each well-shot ball admitting of n possible responses, n² responses to those responses, and on into what Incandenza would articulate to anyone who shared both his backgrounds as a Cantorian continuum of infinities of possible move and response, Cantorian and beautiful because infoliating, contained, this diagnate infinity of infinities of choice and execution, mathematically uncontrolled but humanly contained, bounded by the talent and imagination of self and opponent, bent in on itself by the containing boundaries of skill and imagination that brought one player finally down, that kept both from winning, that made it, finally, a game, these boundaries of self.

I never saw as clearly as with Artaud what the meaning of poetry is: it is an abstraction, to match allegorical patterns.

His stone walls are knee-high, not castle-worthy. They have large gaps in them for driveways and paths and grape arbors. And yet every time he drives past a property he's shaped with his own heavy hands, he pictures the parents sitting down to dinner with their children, harmony wrapping the table like mosquito netting as if literal foundations might lay the pattern for emotional ones.

That process culminated in the 1950s in the short-lived pattern that people have since come to think of as traditional marriage. So in the 1970s, when the inherent instability of the love-based marriage reasserted itself, millions of people were taken completely by surprise. Having lost any collective memory of the convulsions that occurred when the love match was first introduced and the crisis that followed its modernization in the 1920s, they could not understand why this kind of marriage, which they thought had prevailed for thousands of years, was being abandoned by the younger generation.

Slender and lissome, Zilia had skin of the purest white and features the very emblem of candor and modesty; her large dark blue eyes, more tender than lively, seemed to express love at the height of delicacy, sentiment at its most voluptuous. Her mouth was deliciously formed, her teeth white and beautiful; she seemed a little pale until one's gaze fell upon her and then she burst to life, fresh as a rose. Her brow was noble, her hair, so nicely patterned, ashen blonde in great quantity, elegantly matched by the gracious contours of her veil, streaming across alabaster breasts, always exposed in accord with the fashion of the country—all finally lent this pretty woman the air of a goddess of youth. She had just reached her 16th year, still growing despite all, her arms lithe and fingers to our eyes so very supple and slender.

Bauval found that the Pyramids/Orion’s Belt correlation was general and obvious in all epochs, but specific and exact in only one: At 10,450 BC – and at that date only – we find that the pattern of the pyramids on the ground provides a perfect reflection of the pattern of the stars in the sky. I mean it’s a perfect match – faultless – and it cannot be an accident because the entire arrangement correctly depicts two very unusual celestial events that occurred only at that time. First, and purely by chance, the Milky Way, as visible from Giza in 10,450 BC, exactly duplicated the meridional course of the Nile Valley; secondly, to the west of the Milky Way, the three stars of Orion’s Belt were at the lowest altitude in their precessional cycle, with Al Nitak, the star represented by the Great Pyramid, crossing the meridien at 11° 08ʹ.8

... [O]ne of the most influential approaches to thinking about memory in recent years, known as connectionism, has abandoned the idea that a memory is an activated picture of a past event. Connectionist or neural network models are based on the principle that the brain stores engrams by increasing the strength of connections between different neurons that participate in encoding an experience. When we encode an experience, connections between active neurons become stronger, and this specific pattern of brain activity constitutes the engram. Later, as we try to remember the experience, a retrieval cue will induce another pattern of activity in the brain. If this pattern is similar enough to a previously encoded pattern, remembering will occur. The "memory" in a neural network model is not simply an activated engram, however. It is a unique pattern that emerges from the pooled contributions of the cue and the engram. A neural network combines information in the present environment with patterns that have been stored in the past, and the resulting mixture of the two is what the network remembers... When we remember, we complete a pattern with the best match available in memory; we do not shine a spotlight on a stored picture.

Key Rabbit, allow me to bore you with a comparison of your wife and a beautiful woman," I said. "In the morning a beauty must lie in bed for three or four hours gathering strength for another mighty battle with Nature. Then, after being bathed and toweled by her maids, she loosens her hair in the Cascade of Teasing Willows Style, paints her eyebrows in the Distant Mountain Range Style, anoints herself with the Nine Bends of the River Diving-water Perfume, applies rouge, mascara, and eye shadow, and covers the whole works with a good two inches of the Powder of the Nonchalant Approach. Then she dresses in a plum-blossom patterned tunic with matching skirt and stockings, adds four or five pounds of jewelry, looks in the mirror for any visible sign of humanity and is relieved to find none, checks her makeup to be sure that it has hardened into an immovable mask, sprinkles herself with the Hundred Ingredients Perfume of the Heavenly Spirits who Descended in the Rain Shower, and minces with tiny steps toward the new day. Which, like any other day, will consist of gossip and giggles.

Well, sounding wise wasn't difficult. It was a lot easier than being intelligent, actually, since you didn't have to say anything surprising or come up with any new insights. You just let your brain's pattern-matching software complete the cliche, using whatever Deep Wisdom you'd stored previously.

The Congregating of Stars They often meet in mountain lakes, No matter how remote, no matter how deep Down and far they must stream to arrive, Navigating between the steep, vertical piles Of broken limestone and chert, through shattered Trees and dry bushes bent low by winter, Across ravines cut by roaring avalanches Of boulders and ripping ice. Silently, the stars have assembled On the surface of this lost lake tonight, Arranged themselves to match the patterns They maintain in the highest spheres Of the surrounding sky. And they continue on, passing through The smooth, black countenance of the lake, Through that mirror of themselves, down through The icy waters to touch the perfect bottom Stillness of the invisible life and death existing In the nether of those depths. Sky-bound- yet touching every needle In the torn and sturdy forest, every stone, Sharp, cracked along the ragged shore- the stars Appear the same as in ancient human ages On the currents of the old seas and the darkened Trails of desert dunes, Orion’s belt the same As it shone in Galileo’s eyes, Polaris certain above The sails of every mariner’s voyage. An echoing Light from the Magi’s star, that beacon, might even Be shining on this lake tonight, unrecognized. The stars are congregating, perhaps in celebration, passing through their own names and legends, through fogs, airs, and thunders, the vapors of winter frost and summer pollens. They are ancestors of transfiguration, intimate with all the eyes of the night. What can they know?

Your original learned in childhood what attraction leads to, and that love is a loss of power. These lessons hold more influence than you think they do, and you understand them less than you should. You prefer the emotional patterns you know, and these were set at the orphanage for Kodiak, with your Cusk siblings and caretakers for you. Ambrose, "first sight" love is when you meet someone who accords with your childhood lessons, learned from your parents, of what you think love should look like. What did your mother teach us? Who kept her son but sent his clones off to live a season at a time with a stranger, with no thought to their suffering? Who felt her and Ambrose's legacy was worth putting so many copies of him through this torture? Kodiak does not match the models you learned as a child, and you don't match his. But that seemingly natural sense of "fitting together" is a construction. The love Kodiak and I share in this lifetime is proof of it.

We tend to judge people’s honesty based on their demeanor. Well-spoken, confident people with a firm handshake who are friendly and engaging are seen as believable. Nervous, shifty, stammering, uncomfortable people who give windy, convoluted explanations aren’t. In a survey of attitudes toward deception conducted a few years ago, which involved thousands of people in fifty-eight countries around the world, 63 percent of those asked said the cue they most used to spot a liar was “gaze aversion.” We think liars in real life behave like liars would on Friends—telegraphing their internal states with squirming and darting eyes. This is—to put it mildly—nonsense. Liars don’t look away. But Levine’s point is that our stubborn belief in some set of nonverbal behaviors associated with deception explains the pattern he finds with his lying tapes. The people we all get right are the ones who match—whose level of truthfulness happens to correspond with the way they look.

The pajamas were patterned with red pinstripes and tiny blue escutcheons. Sammy was wearing a pair that had red escutcheons with blue pinstripes. That was Rosa’s idea of fostering a sense of connection between father and son. As any two people who have ever dressed in matching pajamas will attest, it was surprisingly effective. “That’s unusual,” Sammy

I wore a blue silk Brunswick jacket, close-fitting and edged with dark fur, and a matching petticoat, both quilted with a pattern of diamonds and swirling flowers. My gloves were bright green kidskin, and on my head I wore the one extravagant hat I'd brought, the sweeping brim covered in black velvet and crowned with a profusion of scarlet ribbons. I, Eliza Hamilton.

Science has no connection with Truth. It’s simply a pattern-matching exercise, i.e. it tries to match theoretical mathematical patterns to experimentally observed patterns, and, when it makes a match, it believes it has made some kind of discovery about reality. It has done no such thing. Correlation is not causation! Everyone know that, but apparently not scientists!

The reason you have not already gotten what you desire is because you are holding yourself in a vibrational holding pattern that does not match the vibration of your desire. That is the only reason-ever! And an important thing for you to now understand is that if you will stop and think about it, or, more important, stop and feel about it, you can identify your very discord.

...although the people walking along the streets were strangers to each other, they formed a tight chain, like some organic composition, and I could not squeeze in. Could sharing ordinary, normal faces forge such a strong bond among them? Moreover, even the things they wore matched. The mass-produced patterns of today called fashion. Is that a negation of the uniform, for heaven’s sake, or simply a new kind of uniform?

Today’s dating sites mean easy access to countless singles tailored to your exact desires, with your perfect match only a click of a button away. Or at least that’s how we think it should be—but sometimes too much choice can just make it harder to weed out the bad options. For some of us, online dating is a succession of frogs with no prince at the end of it. For others, more choice seems to equal more rejection. The good news, as ever, is that math can help.

But the grand thing about people was that you could also choose to focus on particular faces, really see them, and find a wealth of stories. So many people with so many lives, each a separate little mystery. Infinite detail, like Pattern. Look close at his fractal lines, and you’d realize each little ridge had an entire architecture of its own. Look close at a given person, and you’d see their uniqueness—see that they didn’t quite match whatever broad category you’d first put them in.

Dead Seas and Babbling Brooks Not all of us are out of touch with our emotions, but when it comes to talking, all of us are affected by our personality. I have observed two basic personality types. The first I call the “Dead Sea.” In the little nation of Israel, the Sea of Galilee flows south by way of the Jordan River into the Dead Sea. The Dead Sea goes nowhere. It receives but it does not give. This personality type receives many experiences, emotions, and thoughts throughout the day. They have a large reservoir where they store that information, and they are perfectly happy not to talk. If you say to a Dead Sea personality, “What’s wrong? Why aren’t you talking tonight?” he will probably answer, “Nothing’s wrong. What makes you think something’s wrong?” And that response is perfectly honest. He is content not to talk. He could drive from Chicago to Detroit and never say a word and be perfectly happy. On the other extreme is the “Babbling Brook.” For this personality, whatever enters into the eye gate or the ear gate comes out the mouth gate and there are seldom sixty seconds between the two. Whatever they see, whatever they hear, they tell. In fact, if no one is at home to talk to, they will call someone else. “Do you know what I saw? Do you know what I heard?” If they can’t get someone on the telephone, they may talk to themselves because they have no reservoir. Many times a Dead Sea marries a Babbling Brook. That happens because when they are dating, it is a very attractive match. If you are a Dead Sea and you date a Babbling Brook, you will have a wonderful evening. You don’t have to think, “How will I get the conversation started tonight? How will I keep the conversation flowing?” In fact, you don’t have to think at all. All you have to do is nod your head and say, “Uh-huh,” and she will fill up the whole evening and you will go home saying, “What a wonderful person.” On the other hand, if you are a Babbling Brook and you date a Dead Sea, you will have an equally wonderful evening because Dead Seas are the world’s best listeners. You will babble for three hours. He will listen intently to you, and you will go home saying, “What a wonderful person.” You attract each other. But five years after marriage, the Babbling Brook wakes up one morning and says, “We’ve been married five years, and I don’t know him.” The Dead Sea is saying, “I know her too well. I wish she would stop the flow and give me a break.” The good news is that Dead Seas can learn to talk and Babbling Brooks can learn to listen. We are influenced by our personality but not controlled by it. One way to learn new patterns is to establish a daily sharing time in which each of you will talk about three things that happened to you that day and how you feel about them. I call that the “Minimum Daily Requirement” for a healthy marriage. If you will start with the daily minimum, in a few weeks or months you may find quality conversation flowing more freely between you.

locating beauty and art and magic and improvement and keys to excellence and victory in the prolix flux of match play is not a fractal matter of reducing chaos to pattern. Seemed intuitively to sense that it was a matter not of reduction at all, but—perversely—of expansion, the aleatory flutter of uncontrolled, metastatic growth—each well-shot ball admitting of n possible responses, n2 possible responses to those responses, and on into what Incandenza would articulate to anyone who shared both his backgrounds as a Cantorian 35 continuum of infinities of possible move and response, Cantorian and beautiful because infoliating, contained, this diagnate infinity of infinities of choice and execution, mathematically uncontrolled but humanly contained, bounded by the talent and imagination of self and opponent, bent in on itself by the containing boundaries of skill and imagination that brought one player finally down, that kept both from winning, that made it, finally, a game, these boundaries of self. ‘You

He peeled the towel that imprisoned us away and let it fall. I felt it slide softly off my backside, and I felt, too, his rising excite¬ment, hard, erect, pressing against me. My nipples were erect, straining, aching, pressed against his strong warm damp chest, the tangle and pattern of his hair. He was a beast, an animal. My excitement was rising again, to match his. It was as if my heart were about to burst or to flip flop, breathless, into a dark abyss. “Of course, you are crazy, my darling, but, then, so am I.” He kissed me and his oh-so-clever hands seized my waist, tighten¬ing, and then sneaking up my backside, pulling me, pressing me closer, into him. He kissed me again, and his lips moved down my neck to my shoulder and then to my breasts. “Oh,” I said, “Oh.” He bent over me, kissing my collarbone and then my breasts, carefully, slowly, his hands traveling down my back, and over my backside; suddenly, he was on his knees, kissing the whorl of 101 my belly button; then he was forcing me open, gently, gently, his tongue exploring caressing, devouring … “Oh …” I exhaled a deep, shuddering breath. I tipped on the very edge. He bit me, gently. Oooooh! He pulled in the reins, the bit and bridle, of the frisky frothing filly that I had become; this sudden halt made me wilder, crazier; then, once again, he brought me, trembling, up to the very, very edge of the cliff – of orgasm, of loss of self. Then he pulled me back. I blinked and trembled. Around the two of us, there was a whole world, a whole universe. It seemed too vivid to be real, like the backdrop in an opera. Venus was brighter and lower now. The sky had turned deep indigo. One by one, stars appeared.

The door had six knobs on its inner side: the uppermost, which matched the outer one, a square of frost-furred crystal, and five beneath it, placed in an uneven row. The first two were of some sort of dark stone, one icy and the other matte and slippery-smooth. The fourth had the look of a tiny aquarium, a cylinder of turquoise sea shafted with sunlight. The bottom two were made of wood. The first was pale, carved with an intricate floral pattern. I could not tell if the second was similarly decorated, for it was largely covered in a wet moss woven with constellations of tiny white flowers.

Everyone has quirks of behavior and personality that at times irritate us. Yet in most cases the problem isn't that they are bad; its simply that their responses and thought patterns are different from ours. Every person is different. Yet often, those differences are not understood or valued by others. Trying to change one's personality to match yours is as pointless and as futile as trying to change one's physical features to make him or her look like you. The key to reducing frustration over one's quirks of behavior and to communicate with him or her is to understand and accommodate their unique personality style.

Hermes had said, the giant was about ten feet tall, which made him small compared to some other giants I’d seen. But Cacus made up for it by being bright and gaudy. He had curly orange hair, pale skin, and orange freckles. His face was smeared upward with a permanent pout, upturned nose, wide eyes, and arched eyebrows, so he appeared both startled and unhappy. He wore a red velour housecoat with matching slippers. The housecoat was open, revealing silky Valentine-patterned boxer shorts and luxurious chest hair of a red/pink/orange color not found in nature. Annabeth made a small gagging sound. “It’s the ginger giant.

God clues us in to the fact that, "As the heavens are higher than the earth, so are my ways higher than your ways and my thoughts than your thoughts." In short, God is not logical. This is not to say that he is illogical, only that he is not limited by logic. Simplified, "logic" is connecting the dots. We identify the dots we consider relevant, then connect them into lines and patterns. God, on the other hand, may see that, beneath one of the dots is a stack of a trillion more dots, each of which may be combined with the others. Little wonder that our ways and meanings frequently fail to match God's ways and meanings. Great wonder that, when they don't, we tend to fault him.

As you sit there watching a performance of a Shakespeare, Johnson, or Marlowe play, the crowd will fade into the background. Instead, you will be struck by the diction. There are words and phrases that you will not find funny, but which will make the crowd roar with laughter. Your familiarity with the meanings of Shakespeare's words will rise and fall as you see and hear the actors' deliveries and notice the audience's reaction. That is the strange music of being so familiar with something that is not of your own time. What you are listening to in that auditorium is the genuine voice, something of which you have heard only distant echoes. Not every actor is perfect in his delivery; Shakespeare himself makes that quite clear in his Hamlet. But what you are hearing is the voice of the men for whom Shakespeare wrote his greatest speeches. Modern thespians will follow the rhythms or the meanings of these words, but even the most brilliant will not always be able to follow both rhythm and meaning at once. If they follow the pattern of the verse, they risk confusing the audience, who are less familiar with the sense of the words. If they pause to emphasize the meanings, they lose the rhythm of the verse. Here, on the Elizabethan stage, you have a harmony of performance and understanding that will never again quite be matched in respect of any of these great writers.

Later, in the late twentieth century and the early twenty-first, this thinking informed theories of AI and machine learning. Such theories posited that AI’s potential lay partly in its ability to scan large data sets to learn types and patterns—e.g., groupings of words often found together, or features most often present in an image when that image was of a cat—and then to make sense of reality by identifying networks of similarities and likenesses with what the AI already knew. Even if AI would never know something in the way a human mind could, an accumulation of matches with the patterns of reality could approximate and sometimes exceed the performance of human perception and reason.

CHARACTERISTICS OF SYSTEM 1 generates impressions, feelings, and inclinations; when endorsed by System 2 these become beliefs, attitudes, and intentions operates automatically and quickly, with little or no effort, and no sense of voluntary control can be programmed by System 2 to mobilize attention when a particular pattern is detected (search) executes skilled responses and generates skilled intuitions, after adequate training creates a coherent pattern of activated ideas in associative memory links a sense of cognitive ease to illusions of truth, pleasant feelings, and reduced vigilance distinguishes the surprising from the normal infers and invents causes and intentions neglects ambiguity and suppresses doubt is biased to believe and confirm exaggerates emotional consistency (halo effect) focuses on existing evidence and ignores absent evidence (WYSIATI) generates a limited set of basic assessments represents sets by norms and prototypes, does not integrate matches intensities across scales (e.g., size to loudness) computes more than intended (mental shotgun) sometimes substitutes an easier question for a difficult one (heuristics) is more sensitive to changes than to states (prospect theory)* overweights low probabilities* shows diminishing sensitivity to quantity (psychophysics)* responds more strongly to losses than to gains (loss aversion)* frames decision problems narrowly, in isolation from one another*

If I sequenced my own genome and showed it to a geneticist, she would be able to say approximately where on the planet I or my ancestors came from by matching variants in my genome with the geographic patterns of variants across the globe. She would not, however, be  able to tell whether I was smart or dumb, tall or short, or almost anything else that matters with respect to how I function as a human being. Indeed, despite the fact that most efforts to understand the genome have sprung from efforts to combat disease, for the vast majority of diseases, such as Alzheimer’s, cancer, diabetes, or heart disease, our current understanding allows us only to assign vague probabilities to the likelihood that an individual will develop them.

The pattern-oriented ways of thinking characteristic of pre-Modern thought naturally appeal to meaning-hungry creatures like us. These ways of thinking are found in a great variety of cultures: in classical Chinese thought, for example, the five traditional elements (wood, water, fire, earth, and metal) are matched up with the five senses in a similar correspondence between the inner and the outer. As a further attraction, pre-Modern views often fit more smoothly with our everyday sense experience: naively, the earth looks to be stable and fixed while the sun moves across the sky, and it takes some serious discipline to convince oneself that the mathematically more simple models (like the sun-centred model of the solar system) are right.

Characteristics of System 1: • generates impressions, feelings, and inclinations; when endorsed by System 2 these become beliefs, attitudes, and intentions • operates automatically and quickly, with little or no effort, and no sense of voluntary control • can be programmed by System 2 to mobilize attention when a particular pattern is detected (search) • executes skilled responses and generates skilled intuitions, after adequate training • creates a coherent pattern of activated ideas in associative memory • links a sense of cognitive ease to illusions of truth, pleasant feelings, and reduced vigilance • distinguishes the surprising from the normal • infers and invents causes and intentions • neglects ambiguity and suppresses doubt • is biased to believe and confirm • exaggerates emotional consistency (halo effect) • focuses on existing evidence and ignores absent evidence (WYSIATI) • generates a limited set of basic assessments • represents sets by norms and prototypes, does not integrate • matches intensities across scales (e.g., size to loudness) • computes more than intended (mental shotgun) • sometimes substitutes an easier question for a difficult one (heuristics) • is more sensitive to changes than to states (prospect theory)* • overweights low probabilities* • shows diminishing sensitivity to quantity (psychophysics)* • responds more strongly to losses than to gains (loss aversion)* • frames decision problems narrowly, in isolation from one another*

When I touch her, my fingers don’t question what she is. My body knows who she is. The strange thing about strangers is that they are unknown and known. There is a pattern to her, a shape I understand, a private geometry that numbers mine. She is a maze where I got lost years ago, and now find the way out. She is the missing map. She is the place that I am. She is a stranger. She is the strange that I am beginning to love. And you may say that only death has brought us to this. That one intensity must match another. That we have found each other because there is no one else, nothing else to find. It doesn’t matter – not the reasons for the death, nor the explanation of the love. It is happening, both together, and it is where we are, both together.

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ON 26 July 1926, Vita Sackville-West gave the Woolfs a cocker spaniel puppy which they named Pinka (or Pinker). She ate holes in Virginia’s skirt and devoured Leonard’s proofs. “But”, writes Virginia, “she is an angel of light. Leonard says seriously she makes him believe in God . . . and this after she has wetted his floor 8 times in one day”. For nine years Pinka was the much loved companion of both Leonard and Virginia, though in time she became essentially Leonard’s dog. Loved as she was, the pattern of her life naturally became woven into the pattern of theirs. The daily habits; her walk with Leonard round Tavistock Square garden in the morning before the day’s work began. Her joke of extinguishing, with her paw, Virginia’s match when she lit a cigarette, and so on. Virginia mentions her again and again in letters and diaries.

There is only so much one person may give before it exhausts your shallow well of courage and leaves you damned and dry. Before outrage becomes commonplace, and you grow used to the horrors of this life. They count on it, the Nazis—and other villains, too. Mussolini in Italy and Baky in Hungary, Ion Antonescu, purging the streets of Old Romania—and those who, in some future time when civilized people think themselves beyond the reach of moral failings, may rise to stand on foreign soil. They want you tired and distracted. They plan to burn this world down—our old ways of being. From the ashes they will build the world anew, after a fearful pattern, after their own bleak design. But the flames can only devour what we leave unguarded. So they will force you inward, if they can, to huddle over whatever small treasures the Lord has given you. When your back is turned, that’s when they’ll strike the match.

The rosary is being prayed perfectly when all the members pray it at the same natural and prayerful pace. This gives the rosary a beautiful rhythm, flow, and harmonious timing that match normal breathing patterns. On the other hand, if one member prays too loudly, allowing his voice and pace to dominate the others, everyone automatically begins to focus on his voice and is no longer able to meditate; the vocal aspect becomes a distraction for all the other members. Similarly, if a person places an emphasis on one particular word of the Hail Mary prayer, it breaks the flow and rhythm of the group’s timing. All of the above aspects should be taken seriously, because a group’s failure to pray the rosary well and harmoniously is often the reason why many people do not join in praying the rosary before or after Mass. Very few people are interested in praying a rosary that is chaotic and a verbal wrestling match.

The beauty of the principle idea of string theory is that all the known elementary particles are supposed to represent merely different vibration modes of the same basic string. Just as a violin or a guitar string can be plucked to produce different harmonics, different vibrational patterns of a basic string correspond to distinct matter particles, such as electrons and quarks. The same applies to the force carriers as well. Messenger particles such as gluons or the W and Z owe their existence to yet other harmonics. Put simply, all the matter and force particles of the standard model are part of the repertoire that strings can play. Most impressively, however, a particular configuration of vibrating string was found to have properties that match precisely the graviton-the anticipated messenger of the gravitational force. This was the first time that the four basic forces of nature have been housed, if tentatively, under one roof.

The room was two-tiered, its marble balconies filled with rams and water nymphs in fancy dress; a kaleidoscope of colours swayed in time to the beat of hypnotic music. A concerto of absent musicians, it played only in her mind. The numerous chandeliers with sculptured metal frames hung down from chains, with endless fireflies attached. At the far end stretched a grand staircase, dressed with a plush velvet carpet in deep cerise, and ceiling paintings edged with gold embossed dado rails clung to the walls. Then Eve honed in on herself and saw that she wore a crushed white taffeta A-line gown that fit her trim figure like a glove. Her butterfly mask with floral patterns embroidered in red and gold silk sat against her pale skin, her reflection like that of a porcelain doll. A matching shawl rested softly on her shoulders. Everything was so beautiful that she almost totally lost herself in the mirror’s reflection." (little snippet from our book)

In 1998, he helped organize the first “advanced chess” tournament, in which each human player, including Kasparov himself, paired with a computer. Years of pattern study were obviated. The machine partner could handle tactics so the human could focus on strategy. It was like Tiger Woods facing off in a golf video game against the best gamers. His years of repetition would be neutralized, and the contest would shift to one of strategy rather than tactical execution. In chess, it changed the pecking order instantly. “Human creativity was even more paramount under these conditions, not less,” according to Kasparov. Kasparov settled for a 3–3 draw with a player he had trounced four games to zero just a month earlier in a traditional match. “My advantage in calculating tactics had been nullified by the machine.” The primary benefit of years of experience with specialized training was outsourced, and in a contest where humans focused on strategy, he suddenly had peers. A few years later, the first “freestyle chess” tournament was held. Teams could be made up of multiple humans and computers. The lifetime-of-specialized-practice advantage that had been diluted in advanced chess was obliterated in freestyle. A duo of amateur players with three normal computers not only destroyed Hydra, the best chess supercomputer, they also crushed teams of grandmasters using computers. Kasparov concluded that the humans on the winning team were the best at “coaching” multiple computers on what to examine, and then synthesizing that information for an overall strategy. Human/Computer combo teams—known as “centaurs”—were playing the highest level of chess ever seen. If Deep Blue’s victory over Kasparov signaled the transfer of chess power from humans to computers, the victory of centaurs over Hydra symbolized something more interesting still: humans empowered to do what they do best without the prerequisite of years of specialized pattern recognition.

At all times and in all places, in season and out of season, time is now and England, place is now and England; past and present inter-penetrate. The best days an angler spends upon his river – the river which is Heraclitus’ river, which is never the same as the angler is never the same, yet is the same always – are those he recollects in tranquillity, as wintry weather lashes the land without, and he, snug and warm, ties new patterns of dry-fly, and remembers the leaf-dapple upon clear water and the play of light and the eternal dance of ranunculus in the chalk-stream. A cricket match between two riotously inexpert village Second XIs is no less an instance of timeless, of time caught in ritual within an emerald Arcadia, than is a Test at Lord’s, and we who love the greatest of games know that we do indeed catch a fleeting glimpse of a spectral twelfth man on every pitch, for in each re-enactment of the mystery there is the cumulation of all that has gone before and shall come after. Et ego in Arcadia.

For example, when I observe something unusual in an experiment, it reverberates in my brain for a long while. Many circuits, especially the giant recurrent network of the hippocampus, can generate large numbers of neuronal trajectories without any signals from outside the brain. Even cultured brain tissue in a dish can induce a variety of spontaneous events. That is what neuronal circuits do.38 They do not just sit and wait to be stimulated. Based on these examples, now we may consider the possibility that learning is not an outside-in superimposition process where new neuronal sequences are built up with each novel experience. Instead, learning may be an inside-out matching process: when a spontaneously occurring neuronal trajectory, drawn from the available huge repertoire of trajectories, coincides with a useful action, that trajectory acquires meaning to the brain. The richer the experience, the higher the fraction of the meaningful trajectories, but there is always a large reservoir of available patterns.

Excellence itself, aretē as the Greeks, virtus as the Romans would have called it, has always been assigned to the public realm where one could excel, could distinguish oneself from all others. Every activity performed in public can attain an excellence never matched in privacy; for excellence, by definition, the presence of others is always required, and this presence needs the formality of the public, constituted by one’s peers, it cannot be the casual, familiar presence of one’s equals or inferiors.40 Not even the social realm—though it made excellence anonymous, emphasized the progress of mankind rather than the achievements of men, and changed the content of the public realm beyond recognition—has been able altogether to annihilate the connection between public performance and excellence. While we have become excellent in the laboring we perform in public, our capacity for action and speech has lost much of its former quality since the rise of the social realm banished these into the sphere of the intimate and the private. This curious discrepancy has not escaped public notice, where it is usually blamed upon an assumed time lag between our technical capacities and our general humanistic development or between the physical sciences, which change and control nature, and the social sciences, which do not yet know how to change and control society. Quite apart from other fallacies of the argument which have been pointed out so frequently that we need not repeat them, this criticism concerns only a possible change in the psychology of human beings—their so-called behavior patterns—not a change of the world they move in. And this psychological interpretation, for which the absence or presence of a public realm is as irrelevant as any tangible, worldly reality, seems rather doubtful in view of the fact that no activity can become excellent if the world does not provide a proper space for its exercise. Neither education nor ingenuity nor talent can replace the constituent elements of the public realm, which make it the proper place for human excellence. 7

And Schtitt, whose knowledge of formal math is probably about equivalent to that of a Taiwanese kindergartner, nevertheless seemed to know what Hopman and van der Meer and Bollettieri seemed not to know: that locating beauty and art and magic and improvement and keys to excellence and victory in the prolix flux of match play is not a fractal matter of reducing chaos to pattern. Seemed intuitively to sense that it was a matter not of reduction at all, but — perversely — of expansion, the aleatory flutter of uncontrolled, metastatic growth — each well-shot ball admitting of n possible responses, 2n possible responses to those responses, and on into what Incandenza would articulate to anyone who shared both his backgrounds as a Cantorian 35 continuum of infinities of possible move and response, Cantorian and beautiful because infoliating, contained, this diagnate infinity of infinities of choice and execution, mathematically uncontrolled but humanly contained, bounded by the talent and imagination of self and opponent, bent in on itself by the containing boundaries of skill and imagination that brought one player finally down, that kept both from winning, that made it, finally, a game, these boundaries of self.

We are all poor; but there is a difference between what Mrs. Spark intends by speaking of 'slender means', and what Stevens called our poverty or Sartre our need, besoin. The poet finds his brief, fortuitous concords, it is true: not merely 'what will suffice,' but 'the freshness of transformation,' the 'reality of decreation,' the 'gaiety of language.' The novelist accepts need, the difficulty of relating one's fictions to what one knows about the nature of reality, as his donnée. It is because no one has said more about this situation, or given such an idea of its complexity, that I want to devote most of this talk to Sartre and the most relevant of his novels, La Nausée. As things go now it isn't of course very modern; Robbe-Grillet treats it with amused reverence as a valuable antique. But it will still serve for my purposes. This book is doubtless very well known to you; I can't undertake to tell you much about it, especially as it has often been regarded as standing in an unusually close relation to a body of philosophy which I am incompetent to expound. Perhaps you will be charitable if I explain that I shall be using it and other works of Sartre merely as examples. What I have to do is simply to show that La Nausée represents, in the work of one extremely important and representative figure, a kind of crisis in the relation between fiction and reality, the tension or dissonance between paradigmatic form and contingent reality. That the mood of Sartre has sometimes been appropriate to the modern demythologized apocalypse is something I shall take for granted; his is a philosophy of crisis, but his world has no beginning and no end. The absurd dishonesty of all prefabricated patterns is cardinal to his beliefs; to cover reality over with eidetic images--illusions persisting from past acts of perception, as some abnormal children 'see' the page or object that is no longer before them --to do this is to sink into mauvaise foi. This expression covers all comfortable denials of the undeniable--freedom --by myths of necessity, nature, or things as they are. Are all the paradigms of fiction eidetic? Is the unavoidable, insidious, comfortable enemy of all novelists mauvaise foi? Sartre has recently, in his first instalment of autobiography, talked with extraordinary vivacity about the roleplaying of his youth, of the falsities imposed upon him by the fictive power of words. At the beginning of the Great War he began a novel about a French private who captured the Kaiser, defeated him in single combat, and so ended the war and recovered Alsace. But everything went wrong. The Kaiser, hissed by the poilus, no match for the superbly fit Private Perrin, spat upon and insulted, became 'somehow heroic.' Worse still, the peace, which should instantly have followed in the real world if this fiction had a genuine correspondence with reality, failed to occur. 'I very nearly renounced literature,' says Sartre. Roquentin, in a subtler but basically similar situation, has the same reaction. Later Sartre would find again that the hero, however assiduously you use the pitchfork, will recur, and that gaps, less gross perhaps, between fiction and reality will open in the most close-knit pattern of words. Again, the young Sartre would sometimes, when most identified with his friends at the lycée, feel himself to be 'freed at last from the sin of existing'--this is also an expression of Roquentin's, but Roquentin says it feels like being a character in a novel. How can novels, by telling lies, convert existence into being? We see Roquentin waver between the horror of contingency and the fiction of aventures. In Les Mots Sartre very engagingly tells us that he was Roquentin, certainly, but that he was Sartre also, 'the elect, the chronicler of hells' to whom the whole novel of which he now speaks so derisively was a sort of aventure, though what was represented within it was 'the unjustified, brackish existence of my fellow-creatures.

Our modern glass is exquisitely clear in its substance, true in its form, accurate in its cutting. We are proud of this. We ought to be ashamed of it. The old Venice glass was muddy, inaccurate in all its forms, and clumsily cut, if at all. And the old Venetian was justly proud of it. For there is this difference between the English and Venetian workman, that the former thinks only of accurately matching his patterns, and getting his curves perfectly true and his edges perfectly sharp, and becomes a mere machine for rounding curves and sharpening edges; while the old Venetian cared not a whit whether his edges were sharp or not, but he invented a new design for every glass that he made, and never moulded a handle or a lip without a new fancy in it. And therefore, though some Venetian glass is ugly and clumsy enough when made by clumsy and uninventive workmen, other Venetian glass is so lovely in its forms that no price is too great for it; and we never see the same form in it twice. Now you cannot have the finish and the varied form too. If the workman is thinking about his edges, he cannot be thinking of his design; if of his design, he cannot think of his edges. Choose whether you will pay for the lovely form or the perfect finish, and choose at the same moment whether you will make the worker a man or a grindstone.

The information in this topic of decision making and how to create and nurture it, is beneficial to every cop in their quest to mastering tactics and tactical decision making and are a must read for every cop wanting to be more effective and safe on the street. My purpose is to get cops thinking about this critical question: In mastering tactics shouldn’t we be blending policy and procedure with people and ideas? It should be understandable that teaching people, procedures helps them perform tasks more skillfully doesn’t always apply. Procedures are most useful in well-ordered situations when they can substitute for skill, not augment it. In complex situations, in the shadows of the unknown, uncertain and unpredictable and complex world of law enforcement conflict, procedures are less likely to substitute for expertise and may even stifle its development. Here is a different way of putting it as Klein explains: In complex situations, people will need judgment skills to follow procedures effectively and to go beyond them when necessary.3 For stable and well-structured tasks i.e. evidence collection and handling, follow-up investigations, booking procedures and report writing, we should be able to construct comprehensive procedure guides. Even for complex tasks we might try to identify the procedures because that is one road to progress. But we also have to discover the kinds of expertise that comes into play for difficult jobs such as, robbery response, active shooter and armed gunman situations, hostage and barricade situations, domestic disputes, drug and alcohol related calls and pretty much any other call that deals with emotionally charged people in conflict. Klein states, “to be successful we need both analysis (policy and procedure) and intuition (people and ideas).”4 Either one alone can get us into trouble. Experts certainly aren’t perfect, but analysis can fail. Intuition isn’t magic either. Klein defines intuition as, “ways we use our experience without consciously thinking things out”. Intuition includes tacit knowledge that we can’t describe. It includes our ability to recognize patterns stored in memory. We have been building these patterns up all our lives from birth to present, and we can rapidly match a situation to a pattern or notice that something is off, that some sort of anomaly is warning us to be careful.5

When players study all those patterns, they are mastering tactics. Bigger-picture planning in chess—how to manage the little battles to win the war—is called strategy. As Susan Polgar has written, “you can get a lot further by being very good in tactics”—that is, knowing a lot of patterns—“and have only a basic understanding of strategy.” Thanks to their calculation power, computers are tactically flawless compared to humans. Grandmasters predict the near future, but computers do it better. What if, Kasparov wondered, computer tactical prowess were combined with human big-picture, strategic thinking? In 1998, he helped organize the first “advanced chess” tournament, in which each human player, including Kasparov himself, paired with a computer. Years of pattern study were obviated. The machine partner could handle tactics so the human could focus on strategy. It was like Tiger Woods facing off in a golf video game against the best gamers. His years of repetition would be neutralized, and the contest would shift to one of strategy rather than tactical execution. In chess, it changed the pecking order instantly. “Human creativity was even more paramount under these conditions, not less,” according to Kasparov. Kasparov settled for a 3–3 draw with a player he had trounced four games to zero just a month earlier in a traditional match. “My advantage in calculating tactics had been nullified by the machine.” The primary benefit of years of experience with specialized training was outsourced, and in a contest where humans focused on strategy, he suddenly had peers. A few years later, the first “freestyle chess” tournament was held. Teams could be made up of multiple humans and computers. The lifetime-of-specialized-practice advantage that had been diluted in advanced chess was obliterated in freestyle. A duo of amateur players with three normal computers not only destroyed Hydra, the best chess supercomputer, they also crushed teams of grandmasters using computers. Kasparov concluded that the humans on the winning team were the best at “coaching” multiple computers on what to examine, and then synthesizing that information for an overall strategy. Human/Computer combo teams—known as “centaurs”—were playing the highest level of chess ever seen. If Deep Blue’s victory over Kasparov signaled the transfer of chess power from humans to computers, the victory of centaurs over Hydra symbolized something more interesting still: humans empowered to do what they do best without the prerequisite of years of specialized pattern recognition.

Gray froze as Miss Turner emerged from the hold. For weeks, she’d plagued him-by day, he suffered glimpses of her beauty; by night, he was haunted by memories of her touch. And just when he thought he’d finally wrangled his desire into submission, today she’d ruined everything. She’d gone and changed her dress. Gone was that serge shroud, that forbidding thundercloud of a garment that had loomed in his peripheral vision for weeks. Today, she wore a cap-sleeved frock of sprigged muslin. She stepped onto the deck, smiling face tilted to the wind. A flower opening to greet the sun. She bobbed on her toes, as though resisting the urge to make a girlish twirl. The pale, sheer fabric of her dress billowed and swelled in the breeze, pulling the undulating contour of calf, thigh, hip into relief. Gray thought she just might be the loveliest creature he’d ever seen. Therefore, he knew he ought to look away. He did, for a moment. He made an honest attempt to scan the horizon for clouds. He checked the hour on his pocket watch, wound the small knob one, two, three, four times. He wiped a bit of salt spray from its glass face. He thought of England. And France, and Cuba, and Spain. He remembered his brother, his sister, and his singularly ugly Aunt Rosamond, on whom he hadn’t clapped eyes in decades. And all this Herculean effort resulting in nothing but a fine sheen of sweat on his brow and precisely thirty seconds’ delay in the inevitable. He looked at her again. Desire swept through his body with starling intensity. And beneath that hot surge of lust, a deeper emotion swelled. It wasn’t something Gray wished to examine. He preferred to let it sink back into the murky depths of his being. An unnamed creature of the deep, let for a more intrepid adventurer to catalog. Instead, he examined Miss Turner’s new frock. The fabric was of fine quality, the sprig pattern evenly stamped, without variations in shape or hue. The dressmaker had taken great pains to match the pattern at the seams. The sleeves of the frock fit perfectly square with her shoulders, in a moment of calm, the skirt’s single flounce lapped the laces of her boots. Unlike that gray serge abomination, this dress was expensive, and it had been fashioned for her alone. But it no longer fit. As she turned, Gray noted how the neckline gaped slightly, and the column of her skirt that ought to have skimmed the swell of her hip instead caught on nothing but air. He frowned. And in that instant, she turned to face him. Their gazes caught and held. Her own smile faded to a quizzical expression. And because Gray didn’t know how to answer the unspoken question in her eyes, and because he hated the fact that he’d banished the giddy delight from her face, he gave her a curt nod and a churlish, “Good morning.” And then he walked away.

It’s a perspective on story that may also shed light on why you and I and everyone else spend a couple of hours each day concocting tales that we rarely remember and more rarely share. By day I mean night, and the tales are those we produce during REM sleep. Well over a century since Freud’s The Interpretation of Dreams, there is still no consensus on why we dream. I read Freud’s book for a junior-year high school class called Hygiene (yes, that’s really what it was called), a somewhat bizarre requirement taught by the school’s gym teachers and sports coaches that focused on first aid and common standards of cleanliness. Lacking material to fill an entire semester, the class was padded by mandatory student presentations on topics deemed loosely relevant. I chose sleep and dreams and probably took it all too seriously, reading Freud and spending after-school hours combing through research literature. The wow moment for me, and for the class too, was the work of Michel Jouvet, who in the late 1950s explored the dream world of cats.32 By impairing part of the cat brain (the locus coeruleus, if you like that sort of thing), Jouvet removed a neural block that ordinarily prevents dream thoughts from stimulating bodily action, resulting in sleeping cats who crouched and arched and hissed and pawed, presumably reacting to imaginary predators and prey. If you didn’t know the animals were asleep, you might think they were practicing a feline kata. More recently, studies on rats using more refined neurological probes have shown that their brain patterns when dreaming so closely match those recorded when awake and learning a new maze that researchers can track the progress of the dreaming rat mind as it retraces its earlier steps.33 When cats and rats dream it surely seems they’re rehearsing behaviors relevant to survival. Our common ancestor with cats and rodents lived some seventy or eighty million years ago, so extrapolating a speculative conclusion across species separated by tens of thousands of millennia comes with ample warning labels. But one can imagine that our language-infused minds may produce dreams for a similar purpose: to provide cognitive and emotional workouts that enhance knowledge and exercise intuition—nocturnal sessions on the flight simulator of story. Perhaps that is why in a typical life span we each spend a solid seven years with eyes closed, body mostly paralyzed, consuming our self-authored tales.34 Intrinsically, though, storytelling is not a solitary medium. Storytelling is our most powerful means for inhabiting other minds. And as a deeply social species, the ability to momentarily move into the mind of another may have been essential to our survival and our dominance. This offers a related design rationale for coding story into the human behavioral repertoire—for identifying, that is, the adaptive utility of our storytelling instinct.

To give you a sense of the sheer volume of unprocessed information that comes up the spinal cord into the thalamus, let’s consider just one aspect: vision, since many of our memories are encoded this way. There are roughly 130 million cells in the eye’s retina, called cones and rods; they process and record 100 million bits of information from the landscape at any time. This vast amount of data is then collected and sent down the optic nerve, which transports 9 million bits of information per second, and on to the thalamus. From there, the information reaches the occipital lobe, at the very back of the brain. This visual cortex, in turn, begins the arduous process of analyzing this mountain of data. The visual cortex consists of several patches at the back of the brain, each of which is designed for a specific task. They are labeled V1 to V8. Remarkably, the area called V1 is like a screen; it actually creates a pattern on the back of your brain very similar in shape and form to the original image. This image bears a striking resemblance to the original, except that the very center of your eye, the fovea, occupies a much larger area in V1 (since the fovea has the highest concentration of neurons). The image cast on V1 is therefore not a perfect replica of the landscape but is distorted, with the central region of the image taking up most of the space. Besides V1, other areas of the occipital lobe process different aspects of the image, including: •  Stereo vision. These neurons compare the images coming in from each eye. This is done in area V2. •  Distance. These neurons calculate the distance to an object, using shadows and other information from both eyes. This is done in area V3. •  Colors are processed in area V4. •  Motion. Different circuits can pick out different classes of motion, including straight-line, spiral, and expanding motion. This is done in area V5. More than thirty different neural circuits involved with vision have been identified, but there are probably many more. From the occipital lobe, the information is sent to the prefrontal cortex, where you finally “see” the image and form your short-term memory. The information is then sent to the hippocampus, which processes it and stores it for up to twenty-four hours. The memory is then chopped up and scattered among the various cortices. The point here is that vision, which we think happens effortlessly, requires billions of neurons firing in sequence, transmitting millions of bits of information per second. And remember that we have signals from five sense organs, plus emotions associated with each image. All this information is processed by the hippocampus to create a simple memory of an image. At present, no machine can match the sophistication of this process, so replicating it presents an enormous challenge for scientists who want to create an artificial hippocampus for the human brain.

In many fields—literature, music, architecture—the label ‘Modern’ stretches back to the early 20th century. Philosophy is odd in starting its Modern period almost 400 years earlier. This oddity is explained in large measure by a radical 16th century shift in our understanding of nature, a shift that also transformed our understanding of knowledge itself. On our Modern side of this line, thinkers as far back as Galileo Galilei (1564–1642) are engaged in research projects recognizably similar to our own. If we look back to the Pre-Modern era, we see something alien: this era features very different ways of thinking about how nature worked, and how it could be known. To sample the strange flavour of pre-Modern thinking, try the following passage from the Renaissance thinker Paracelsus (1493–1541): The whole world surrounds man as a circle surrounds one point. From this it follows that all things are related to this one point, no differently from an apple seed which is surrounded and preserved by the fruit … Everything that astronomical theory has profoundly fathomed by studying the planetary aspects and the stars … can also be applied to the firmament of the body. Thinkers in this tradition took the universe to revolve around humanity, and sought to gain knowledge of nature by finding parallels between us and the heavens, seeing reality as a symbolic work of art composed with us in mind (see Figure 3). By the 16th century, the idea that everything revolved around and reflected humanity was in danger, threatened by a number of unsettling discoveries, not least the proposal, advanced by Nicolaus Copernicus (1473–1543), that the earth was not actually at the centre of the universe. The old tradition struggled against the rise of the new. Faced with the news that Galileo’s telescopes had detected moons orbiting Jupiter, the traditionally minded scholar Francesco Sizzi argued that such observations were obviously mistaken. According to Sizzi, there could not possibly be more than seven ‘roving planets’ (or heavenly bodies other than the stars), given that there are seven holes in an animal’s head (two eyes, two ears, two nostrils and a mouth), seven metals, and seven days in a week. Sizzi didn’t win that battle. It’s not just that we agree with Galileo that there are more than seven things moving around in the solar system. More fundamentally, we have a different way of thinking about nature and knowledge. We no longer expect there to be any special human significance to natural facts (‘Why seven planets as opposed to eight or 15?’) and we think knowledge will be gained by systematic and open-minded observations of nature rather than the sorts of analogies and patterns to which Sizzi appeals. However, the transition into the Modern era was not an easy one. The pattern-oriented ways of thinking characteristic of pre-Modern thought naturally appeal to meaning-hungry creatures like us. These ways of thinking are found in a great variety of cultures: in classical Chinese thought, for example, the five traditional elements (wood, water, fire, earth, and metal) are matched up with the five senses in a similar correspondence between the inner and the outer. As a further attraction, pre-Modern views often fit more smoothly with our everyday sense experience: naively, the earth looks to be stable and fixed while the sun moves across the sky, and it takes some serious discipline to convince oneself that the mathematically more simple models (like the sun-centred model of the solar system) are right.

Five learning skills, or “habits of mind,” were at the core of her school, and each was matched up with a corresponding question: Evidence: How do we know what’s true or false? What evidence counts? Viewpoint: How might this look if we stepped into other shoes, or looked at it from a different direction? Connection: Is there a pattern? Have we seen something like this before? Conjecture: What if it were different? Relevance: Why does this matter?

The Diderot Effect states that obtaining a new possession often creates a spiral of consumption that leads to additional purchases. You can spot this pattern everywhere. You buy a dress and have to get new shoes and earrings to match. You buy a couch and suddenly question the layout of your entire living room. You buy a toy for your child and soon find yourself purchasing all of the accessories that go with it. It’s a chain reaction of purchases.

General Tips for Better-than-Average Lie-Detecting Sit back and let the other person volunteer information, rather than pulling it out of them. Don’t let on what you know too early—or at all. Stay relaxed and causal. What you are observing is not the person themselves, but the person as they are in a quasi-interrogational situation with you. So don’t make it seem like an inquisition, otherwise you may simply be watching them feel distressed about the situation itself. Don’t worry about individual signs and clues like touching the nose, looking up to the right or stuttering. Rather, look at how the person responds in general to shifts in the conversation, especially at junctures where you believe they may be having to concoct a story on the fly. Listen for stories that seem unusually long or detailed—liars use more words, and they may even talk more quickly. Take your time. It may be a while before you uncover a deception. But the longer the other person talks, the more chance they have of slipping up or getting their story tangled. Watch primarily for inconsistencies—details of the story that don’t add up, emotional expressions that don’t fit the story, or abrupt shifts in the way the story is told. Being chatty and then all of a sudden getting quiet and serious when you ask a particular question is certainly telling. Always interpret your conversation in light of what you already know, the context, and other details you’ve observed in your interactions with this person. It’s all about looking at patterns, and then trying to determine if any disruptions in that pattern point to something interesting. Don’t be afraid to trust your gut instinct! Your unconscious mind may have picked up some data your conscious mind hasn’t become aware of. Don’t make decisions on intuition alone, but don’t dismiss it too quickly, either. Takeaways Casual observation of body language, voice and verbal cues can help with understanding honest people, but we need more sophisticated techniques to help us detect liars. Most people are not as good at spotting deception as they think they are. Bias, expectation and the belief that we can’t or shouldn’t be lied to can get in the way of realizing we’re being deceived. Good lie detection is a dynamic process that focuses on the conversation. Use open ended questions to get people to surrender information voluntarily, and observe. Look out for overly wordy stories that are presented all at once, inconsistencies in the story or emotional affect, delays or avoidance in answering questions, or inability to answer unexpected questions. Liars are easier to spot when lying is spontaneous—try not to allow the liar any time to prepare or rehearse a script, or else ask unexpected questions or plant a lie yourself to watch their response and gain a baseline against which to compare the possible lie. Increasing cognitive load can cause a liar to fumble their story or lose track of details, revealing themselves in a lie. Keep drilling for detail and be suspicious if details don’t add up, if emotion doesn’t match content, or if the person is deliberately stalling for time. Look out for specific signs that a person is cognitively overloaded. One example is that the liar will display less emotions while speaking than they or an average person normally would in their situation. These emotions will instead leak through in their body language. Most commonly, this manifests in more frequent blinking, pupil dilation, speech disturbances, and slips of tongue. Spotting liars is notoriously difficult, but we improve our chances when we focus on strategic and targeted conversations designed to make the liar trip up on his own story, rather than trying to guess hidden intentions from body language alone.

For instance, when talking to the other party, try to mimic their voice speed, volume, and word choice. Is their speech pattern rapid and loud? Speed up your speech and adjust your volume. Do they tend to speak slowly and quietly? Tone it down and match their calm pace. Do they use the same phrases over and over? Try using those same phrases when it makes sense. Here are some other things you can look for and mirror in your next negotiation or the next time you’re in a situation where you are trying to build rapport or influence someone: When they talk, do they tend to look away or make eye contact? How about when they’re listening? Do they tend to blink a lot? Do they gesture with their hands while talking? Are they leaning in? Or out? Or to the side? Do they make physical contact during the interaction? Make a similar level of contact. Keep in mind that any intentional mirroring should be subtle and respectful, with the goal of maximizing similarities and minimizing differences. It should never come across as mocking, and of course, you don’t want to make it obvious what you’re doing.

Subconscious thought matches patterns, finding the best possible match of one’s past experience to the current one.

The knurl-forming process, he says, “is the machining equivalent of magic.” The diamond pattern is produced by two knurling wheels that cut intersecting troughs in opposite directions. Each wheel is like a tractor plowing furrows in a farm field—when it moves to an adjacent strip of field, it needs to fall into the exact same groove in the area of overlap, or the tracking will be off. For that to happen on a knurling machine, the wheels have to match perfectly. A discrepancy of two-thousandths of an inch can create double-tracking, which compromises the grip value of the knurl. Knurling wheels sold as identical typically vary by five-thousandths of an inch.

The glow, back over the common, comes from the railway: that’s the Church candle, been burning now quite a number of years: there, that’s the light the lover flicks as he follows the joys of consummation with the joys of a cigarette: that light was the flash as a man shot himself:     that’s a searchlight feeling for bombers: there, the light appears as the squinting wife regards the fuddled husband: these are twin headlights of a capitalist’s car: this, the gaslight of a trodden worker who would tread: that’s the light of a cinema:      that’s the light of Mars that’s the moon that’s a match.      Alone now, in my dark room     The pebbles cease to drop into the rocking pool         And gradually the surface quietens     Reflecting image of darkest peace and silence.     No questions catch the clothes     But only as it were a spreading     Draws all threads to their finished pattern         And you are pieced together bit by bit     Set against the evening     Lovely and glowing, like a chain of gold. Philip Larkin, Collected Poems, ed. Anthony Thwaite (Farrar, Straus, and Giroux, 1989)

Masculinity and femininity—gender roles—are kind of like height. Males are taller than females. The average height of American males is five feet nine inches tall, while the average height of females is five feet four inches tall. But this doesn’t mean every male is taller than every female. Some women are six feet tall, and yet no one would say they are not female because they fall outside the general pattern. There’s a clear difference in average, and yet much variation within each sex. The same is true of masculinity and femininity. Most males are more physically aggressive than most females. This forms the stereotype that aggression is a masculine trait. On the other hand, some females are more aggressive than some males. This doesn’t mean aggressive females aren’t females. These behaviors are generalities. We don’t determine whether a person is male or female based on whether they match the stereotype of their sex.

I felt a prickle at the special horror of being not only ill but also marginalized. Your testimony dismissed because your lab work fails to match a preexisiting pattern.

that locating beauty and art and magic and improvement and keys to excellence and victory in the prolix flux of match play is not a fractal matter of reducing chaos to pattern. Seemed intuitively to sense that it was a matter not of reduction at all, but—perversely—of expansion, the aleatory flutter of uncontrolled, metastatic growth

She was gracious and welcoming. She immediately showed us to the room we would share: twin beds under flesh-pink chenille spreads, a bathroom with a claw-foot tub. Cut lilacs in a big vase and a crystal carafe of water with matching glasses, which I thought very elegant. When we came downstairs again, she led us out to the back porch, where a table was already set—rose-patterned china and linen napkins and a small candelabra not yet lit. Her husband, the professor, was mixing drinks at a wicker cart. “Mint juleps, no less,” he said, by way of welcome, the mint—he held a bunch in his hand—plucked from a mess of it growing wild beside the back steps.

Three American business school professors decided to find out. In a first-of-its-kind study, they analyzed more than 26,000 earnings calls from more than 2,100 public companies over six and a half years using linguistic algorithms similar to the ones employed in the Twitter study. They examined whether the time of day influenced the emotional tenor of these critical conversations—and, as a consequence, perhaps even the price of the company’s stock. Calls held first thing in the morning turned out to be reasonably upbeat and positive. But as the day progressed, the “tone grew more negative and less resolute.” Around lunchtime, mood rebounded slightly, probably because call participants recharged their mental and emotional batteries, the professors conjectured. But in the afternoon, negativity deepened again, with mood recovering only after the market’s closing bell. Moreover, this pattern held “even after controlling for factors such as industry norms, financial distress, growth opportunities, and the news that companies were reporting.”8 In other words, even when the researchers factored in economic news (a slowdown in China that hindered a company’s exports) or firm fundamentals (a company that reported abysmal quarterly earnings), afternoon calls “were more negative, irritable, and combative” than morning calls.9 Perhaps more important, especially for investors, the time of the call and the subsequent mood it engendered influenced companies’ stock prices. Shares declined in response to negative tone—again, even after adjusting for actual good news or bad news—“leading to temporary stock mispricing for firms hosting earnings calls later in the day.” While the share prices eventually righted themselves, these results are remarkable. As the researchers note, “call participants represent the near embodiment of the idealized homo economicus.” Both the analysts and the executives know the stakes. It’s not merely the people on the call who are listening. It’s the entire market. The wrong word, a clumsy answer, or an unconvincing response can send a stock’s price spiraling downward, imperiling the company’s prospects and the executives’ paychecks. These hardheaded businesspeople have every incentive to act rationally, and I’m sure they believe they do. But economic rationality is no match for a biological clock forged during a few million years of evolution. Even “sophisticated economic agents acting in real and highly incentivized settings are influenced by diurnal rhythms in the performance of their professional duties.

The reason you have not already gotten what you desire is because you are holding yourself in a vibrational holding pattern that does not match the vibration of your desire. That is the only reason—ever!

The reason you have not already gotten what you desire is because you are holding yourself in a vibrational holding pattern that does not match the vibration of your desire. That is the only reason—ever! And an important thing for you to now understand is that if you will stop and think about it, or, more important, stop and feel about it, you can identify your very discord.

The ships that … failed to complete the transition tended to be larger in mass,” he said. “The Oleander-Swift, the Barbatana de Tubarão, and the Harmony all follow that pattern. The Casa Azul doesn’t match that, though.

One of the more irritating habits VCs have is "pattern matching," making recommendations and suggestions based on what other supposedly successful companies were doing. No two companies are alike, and just because another company is doing it, doesn't make it right.

The Greand Pattern of Amber, Emblem of Order Matching in power the Great Logrus of the Courts, Sign of Chaos. The tensions between the two seem to generate everything that matters. Get involved with either, lose control-and you’re done for. Just my luck to be involved with both.

With a serious expression, he says, “You need to know that sometimes, when I’m asleep, I change color to match the pattern of my blanket.” “If I have cheese I fart so loud it wakes me up.

7.​What are some common game patterns that you use? 8.​What are some common game patterns that work against you? 9.​What kinds of serves do you commonly use? 10.​What kinds of serves give you trouble? 11.​What is your preferred way to return serves? 12.​What types of serve returns give you trouble? 13.​What variations do you often use in the beginning of the match? 14.​What tendencies do you have at the end of a close game? 15.​What do you fall back on as Plan B when losing? 16.​What do you fall back on as Plan C when losing?

It wasn't until a burst of hot flame caressed my left hip that a tingling sensation, not unlike magic, crawled down my skin. Ryker gave a low chuckle. "Of course it's on your perfect ass." I craned my neck to see. Across my hip and indeed partially down my backside until it brushed the very top of the back of my leg, a pattern was revealed just a few shades darker than my skin. It was like having a lighter sort of henna painted across my hip in the design of scales. Dragon scales. "What is that?" I asked, startled. "The mark. My mark." Ryker mused. "The perfect match to my scale pattern, not repeated in any other dragon." Brushing my fingers over the skin, it didn't feel any different than it had before. It was just decorated now. My preferred black dresses would always cover it up, but my mind wandered to my closet and exactly what I owned that would show off a flash of scales at my hip. I needed to go shopping. "So, it was always there?" "Always," Ryker answered, a new sort of interest in his eyes. "How does your chest feel?" I rubbed a hand where the thrumming usually sat, but found it was gone. I had been so distracted by the process of being covered in fire and his taunting hands that didn't burn me that I hadn't noticed when it left. "I always knew I liked your ass," Ryker said. I frowned. "It's on my hip," I insisted. Ryker took one hand and smacked my left cheek, firmly on the mark. Immediately a delicious heat shot through it, running straight between my legs where I twitched in anticipation. Fuck. "What's the matter, Danica?" Ryker teased out my full name again, leaning down to meet my neck with a kiss.

be specific, then: a type in Scripture (tupos in Greek, meaning originally a die-stamp or matching impression) is an event, institution, place, object, office, or functioning person that patterns a greater reality that in some sense is of the same kind and is due to appear on history’s stage at some subsequent point. This greater reality is called the antitype. The term “type” is taken from Romans 5:14, where Adam is called a tupos(“pattern”) of Christ, the one who was to come. “Antitype” comes from 1 Peter 3:21, where baptism, understood not simply as an applying of water to the body but also, and essentially, as an outgoing of faith to God, is called the antitypethat the preserving of Noah through the flood waters by his entering the ark had prefigured. A type establishes a frame for interpreting the greater reality when it appears, and meantime, simply by existing, it inculcates the principle of which the greater reality will in fact be the supreme instance. When the greater reality arrives, it becomes the decisive factor in its own field; one way or another it transcends and supersedes the type. In space-time terms, the type is thenceforth a thing of the past, no longer determinative of what must be done or of what will happen. The biblical account of it, however, is of permanent value as providing concepts and categories for understanding the antitype. Typology thus becomes a kind of phrase book for use in theology.

Octopuses can change what they look like in less than 30 milliseconds by expanding tiny pigment sacs in the skin, chromatophores. They can go from dark to pale, plain to patterned, rough to smooth, and a clumped shape to an elongated form. They change their appearance mostly to hide from predators, camouflaging to match the colors and the patterns of their background.

They can make half of the body pale and the other half dark (see plate 2). And when an octopus is finished matching its background and lifts off to swim away, it can put on a striped pattern, making it harder for a predator to track it. If all else fails, an octopus can squirt out a cloud of ink so the predator loses sight of it.

Sorting Laundry" Folding clothes, I think of folding you into my life. Our king-sized sheets like tablecloths for the banquets of giants, pillowcases, despite so many washings, seems still holding our dreams. Towels patterned orange and green, flowered pink and lavender, gaudy, bought on sale, reserved, we said, for the beach, refusing, even after years, to bleach into respectability. So many shirts and skirts and pants recycling week after week, head over heels recapitulating themselves. All those wrinkles To be smoothed, or else ignored; they're in style. Myriad uncoupled socks which went paired into the foam like those creatures in the ark. And what's shrunk is tough to discard even for Goodwill. In pockets, surprises: forgotten matches, lost screws clinking the drain; well-washed dollars, legal tender for all debts public and private, intact despite agitation; and, gleaming in the maelstrom, one bright dime, broken necklace of good gold you brought from Kuwait, the strangely tailored shirt left by a former lover… If you were to leave me, if I were to fold only my own clothes, the convexes and concaves of my blouses, panties, stockings, bras turned upon themselves, a mountain of unsorted wash could not fill the empty side of the bed.

Ollie hadn’t been kidding. He really did like jigsaw puzzles. A countryside harvest festival was spread across the coffee table, and its repeating autumnal patterns held him and Grandma Young in a matching trance. Perched on their seat edges, they bonded over etiquette and strategy: start with the border. Then any sections that contain printed words. If someone is searching for one specific piece, but the other person finds it, it must be handed over, because it means more to the first person. And always save the sky—the hardest part of any puzzle—for last.

Of course, there are numerous variables to consider before we can make effective use of this clue. We need to construct a virtual model of the galaxy as it existed approximately nine million years ago. We’ll need to account for stars that have gone supernova in the past nine million years, and rule out those that have formed after that period. We’ll also have to correct for the movement of this star system as it orbited the galactic center and chart its drift away from the galactic plane. Then, using its position as a center point, we’ll have to search for constellation patterns that would have been visible to the naked eye from this world at that time, and then compare any likely matches against known entities in the Federation Galactic Catalog.” If that list of action items intimidated Troke, he didn’t let it show. Instead he smiled and said, “I’ll have it ready for you in ten minutes, sir.

Napoleon’s intuition was a mix of homeostatic pressure – strong urges felt whenever he saw opportunity or felt threatened – followed by his default responses through entrained behavior over the years as an artillery officer and commander, and likewise matching patterns of unfamiliar situations to previously known situations.   In order to have secured France’s place in the world, Napoleon would have needed to start acting against his intuition at some point, and taking a counter-intuitive position (to him) in regards to opportunities and threats.

You have homeostatic pressures. Don’t naively assume they’re “real” – reason through them to the root cause.   2. You have default entrained responses – don’t deploy them blindly without occasional checking and re-checking them, searching for better ways.   3. Your brain naturally matches and finds patterns – don’t be satisfied until you’ve fully explored what other patterns might be more applicable or superior for your situation.

She wept for the man she had abandoned, fleeing the pain she had seen in his eyes, as his love for her kept him stumbling in her wake, matching each footfall yet unable to come any closer. For that she could not allow. The intricate patterns on a hooded snake held mesmerizing charms, but the bite was no less deadly for that. She was the same. There was nothing in her – nothing that she could see – worth the overwhelming gift of love. Nothing in her worthy of him.

Once the solar years blended into my rhythmic patterns on stone and critical screens, millions telling me the same old twisted scenes, glimmering glances of delight disguised as silver lining pause and model frames. Be very careful which universe you dwell in from now on, for even my own territory is casted within many phrases gone into the cracks where smoke can't escape, many have slit their tongues and throats for a splash of Spanish haze, and lost thick jungle heat only chest and breath could ever match in mid sonic reframe of resonance imagined in west coast hues scanning my pupils to yours, at once and foreseen many summer moons ago when the unknown was merely an oasis of water falling from heavenly thrones, getting off on this planet; getting off on your tones in phantom cosmic zones.

We required a language in which we could conveniently express pattern matching rules over the parse trees and other annotations (such as named entity recognition results), and a technology that could execute these rules very efficiently. We found that Prolog was the ideal choice for the language due to its simplicity and expressiveness.

1. Give your toddler some large tubular pasta and a shoelace.  Show her how to thread the shoelace through the pasta. 2. Take an empty long wrapping paper tube and place one end on the edge of the sofa and the other end on the floor.  Give him a small ball such as a Ping Pong ball to roll down the tube.   3. Give her some individually wrapped toilet tissues, some boxes of facial tissue or some small tins of food such as tomato paste.  Then let her have fun stacking them.     4. Wrap a small toy and discuss what might be inside it.  Give it to him to unwrap. Then rewrap as he watches.  Have him unwrap it again.    5. Cut  such fruits as strawberries and bananas into chunks.  Show her how to slide the chunks onto a long plastic straw.  Then show her how you can take off one chunk at a time, dip it into some yogurt and eat it.   6. Place a paper towel over a water-filled glass.  Wrap a rubber band around the top of the glass to hold the towel in place.  Then place a penny on top of the paper towel in the centre of the glass.  Give your child a pencil to poke holes in the towel until the penny sinks to the bottom of the glass.   7. You will need a small sheet of coarse sandpaper and various lengths of chunky wool.  Show him how to place these lengths of wool on the sandpaper and how the strands stick to it.   8. Use a large photo or picture and laminate it or put it between the sheets of clear contact paper.  Cut it into several pieces to create a puzzle.   9. Give her two glasses, one empty and one filled with water.  Then show her how to use a large eyedropper in order to transfer some of the water into the empty glass.   10. Tie the ends/corners of several scarves together.  Stuff the scarf inside an empty baby wipes container and pull a small portion up through the lid and then close the lid.  Let your toddler enjoy pulling the scarf out of the container.   11. Give your child some magnets to put on a cookie sheet.  As your child puts the magnets on the cookie sheet and takes them off, talk about the magnets’ colours, sizes, etc.   12. Use two matching sets of stickers. Put a few in a line on a page and see if he can match the pattern.  Initially, you may need to lift an edge of the sticker off the page since that can be difficult to do.    13. You will need a piece of thin Styrofoam or craft foam and a few cookie cutters.  Cut out shapes in the Styrofoam with the cookie cutters and yet still keep the frame of the styrofoam intact.  See if your child can place the cookie cutters back into their appropriate holes.        14. Give her a collection of pompoms that vary in colour and size and see if she can sort them by colour or size into several small dishes. For younger toddlers, put a sample pompom colour in each dish.   15. Gather a selection of primary colour paint chips or cut squares of card stock or construction paper.  Make sure you have several of the same colour.  Choose primary colours.  See if he can match the colours.  Initially, he may be just content to play with the colored chips stacking them or making patterns with them.