Surprise will remain a human territory, at least for the short term, because it is so idiosyncratic in the first place. Our sense of the unpredictable is so oddly tuned that true randomness can sometimes seem too regular, too predictable, like a long string of coin tosses where the same side comes up many times. At the same time, we are quite choosy about the kinds of novelty that count, a form of distinction that could, in the end, be precisely what we mean by aesthetics. How many art critiques and book reviews boil down to the judgment ‘this is a predictable extrapolation’? Newness is necessary but not sufficient for human surprise. There is a cadence, a significance that we seek in the aesthetics of surprise that reaches deeper than mere randomness. As pattern-seeking animals, we are looking not just for comprehensible behaviours but for signs and portents – stories about the world that allow us to configure reality according to an aesthetic logic.
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The optimum number of the group would probably not be very high. I should guess that no more than five would be wanted. A larger group might have a larger total supply of information, but there would be the tension of waiting to speak, which can be very frustrating. It would probably be better to have a number of sessions at which the people attending would vary, rather than one session including them all. (This would involve a certain repetition, but even repetition is not in itself undesirable. It is not what people say at these conferences, but what they inspire in each other later on.)