Texts
- The Problem of Learning
- Problemistics Courseware
- Corso su Problemistica
- Resources Management
- Manuale/Intellettuale
- Campagna/Città
Problemistics - Problémistique - Problemistica
The Art & Craft of Problem Dealing
Balance
Definition
Equilibration
Balancing
Dynamic equilibrium
Cognitive equilibration
Ways of balancing
[1986] Union of International Associations, Encyclopedia of World Problems and Human Potential
“1. The stability or efficiency resulting from the equalization or exact adjustment of opposing forces. A steadiness resulting from the proper adjustment to one another of all elements when no one element or constituting force outweighs or is out of proportion to another.
2. An aesthetically pleasing integration of elements (as in a work of art) usually achieved by giving each element only is due prominence or significance and often by allowing one element to stand in contrast to, oppose, or otherwise be matched by another.” (KC0267)
[1971, French Edition 1968] Jean Piaget, Structuralism
“... equilibration involves the idea of transformation within a system and the idea of self-regulation.”
(Chapter IV, p. 57)
[1979, First Published 1934] John Dewey, Art as Experience
"Balance is balancing, a matter of distribution of weights with respect to the way they act upon one another. The two pans of the scales balance when their push and pull on each other is adjusted. And scales exist in actuality only when their pans are operating antagonistically to each other with reference to reaching an equilibrium. Since aesthetic objects depend upon a progressively enacted experience, the final measure of balance ... is the capacity of the whole to hold together within itself the greatest variety and scope of opposed elements."
(Chapter VIII, p. 180)
[1967] Arthur Koestler, The Ghost in the Machine
“... in all stable dynamic systems, stability is maintained by the equilibration of opposite forces, one of which may be centrifugal or separative or inertial, representing the quasi-independent, holistic properties of the part, and the other a centripetal or attractive or cohesive force which keeps the parts in its place in the larger whole, and holds it together.” (pp. 62-63)
“An organism or society is said to be on dynamic equilibrium if the
Self-Assertive and Integrative tendencies of its holons counterbalance each other.” (p. 347)
“If the challenge to the organism exceeds a critical limit, the balance may be upset, the over-excited holon may tend to get out of control, and to assert itself to the detriment of the whole, or monopolise its functions - whether the holon be an organ, a cognitive structure (idée fixe), an individual or a social group.” (p. 347)
“The opposite type of disorder occurs when the power of the whole over its parts erodes their autonomy and individuality.” (p. 348)
[1979, Second edition] Ernest Nagel, The Structure of Science
“... biological organisms are ‘open systems’ never in a state of ‘true equilibrium’ but at best only in a steady state of ‘dynamic equilibrium’ with their environment, because they continually exchange material components and not only energies with the latter.”
(Chapter 12, p. 436)
[1992, Second edition] Richard E. Mayer, Thinking, Problem Solving, Cognition
“... in a normally functioning person there is a striving for a balance between assimilation [of new information] and accommodation [of new to old information]; this balancing process is called equilibration and it is actually responsible for all cognitive growth.”
"... equilibration is never finished because as soon as new information is assimilated the process begins again, resulting in progressively better representations of the world."
(Chapter 10, p. 290)
[1970] Odd Brochmann, Good or Bad Design?
“As we know, in practice balance can be achieved in two ways. One is to put bodies of equal weight at the end of lever-arms of equal length such as you get in a pair of scales. This kind of balance provides a more or less symmetrical image. The other way is allow a heavier object at the end of a short arm to be counter-balanced by a lighter object - the weight - at the end of a longer arm. This is the principle of the steelyard, which provides an asymmetrical image.” (p. 42)