7. Pattern Language 3.0
Sharing the Art of Living Well
with Everyday Creativity
Takashi Iba
Faculty of Policy Management
Keio University
“Pattern Language 3.0: Sharing the Art of Living Well
with Everyday Creativity”(Takashi Iba, 2017)
教授昇任論文
8. Pattern Language 3.0
Sharing the Art of Living Well
with Everyday Creativity
Takashi Iba
Faculty of Policy Management
Keio University
“Pattern Language 3.0: Sharing the Art of Living Well
with Everyday Creativity”(Takashi Iba, 2017)
教授昇任論文
pages
9. 15
developed. To start the process of developing a new pattern language, it is important to
“mine the seeds” of the patterns from examples of best experiences or practices. Pattern
mining is shorthand for discovering thought patterns embodied in our minds or in the
activities associated with the target. The term pattern mining is taken from a metaphor of
geological mining (Gabriel, 1996; DeLano, 1998).
In the pattern mining, first, miners explore their experiences, observations, episodes,
or documented past work related to the subject at hand. Through this exploration, they
look for and identify hidden knowledge used for the target. This knowledge may include
associated rules, methods, tips, or customs. Next, the miner finds critical connections
among these related items so that prospective pattern begins to form a meaningful whole.
In what follows, I will show three types of pattern mining methods based on our
experiences in creating pattern languages: Collaborative Introspection, Mining Interview,
and Mining Workshop.
4.1. Collaborative Introspection
Collaborative introspection is usually done by two or more people so that multiple points
of view are engaged to avoid patterns becoming skewed, to reflect only the values of a
single person. In the process, group members first go through an element mining session
together (Figure 5). They write rules, methods, tips, or customs they consider important
about the subject onto a sticky note, talk about it briefly to the group, and then place the
note on a large sheet of craft paper. The members simultaneously write their notes and
each take turns talking about them until no one has any more ideas to share. After
collecting their ideas, they organize these by compiling similar ideas and dividing them
into groups, and finally the groups are potential seeds of patterns.
Figure 5: Collaborative Introspection (Left: Presentation Patterns; Right: Collaboration
Patterns)
Using this method, we created the following pattern languages: the Learning Patterns
(Iba & Iba Lab, 2014a), the Collaboration Patterns (Iba & Iba Lab, 2014b), Presentation
Patterns (Iba & Iba Lab, 2014c), the Generative Beauty Patterns (Arao, et al., 2012), the
Creative CoCooking Patterns (Isaku & Iba, 2015), and several meta-patterns. Iba & Isaku
(2012) presents the patterns for collaborative introspection and clustering ideas into the
seeds of patterns in holistic way. And, Iba, et al. (2010) shows the process of creating the
Learning Patterns; Sakamoto & Iba (2011) shows the case of the Presentation Patterns.
29
10. PSYCHOLOGICAL UNDERSTANDING OF PATTERN LANGUAGE
I study learning and dialog with pattern languages, using psychological theories outlined
by Lev Semenovich Vygotsky. Vygotsky, known as the Mdozart of Psychology, is a
Soviet psychologist who examined developmental psychology from both experimental
and theoretical perspectives. This paper focuses on the function of pattern languages
using Vygotskian theories such as Vygotsky’s triangle (subject – sign - object), zone of
proximal development, inner speech, and predication. Through this examination, the
following are proposed. Patterns in a pattern language support human action much like
the “signs” in Vygotsky’s triangle. The act of choosing and executing a desired pattern
can be understood as development of learning that result from setting one’s own zone of
proximal development (Figure 23). Furthermore, patterns are written with predication
(especially when written in Japanese), which makes it feel as though it is the inner speech
of the reader and encourages readers to incorporate the patterns into their learning (Figure
24). The paper focuses on examining theories of Vygotsky, but aims to provide
understanding on the function and meaning of pattern languages.
Figure 23: Zone of Proximal Development and Zone that Learner Want to Develop on the
Experienced Patterns Chart
Figure 24: Comparison between Japanese sentence and English sentence
in "Self-Intro Album" of Words for a Journey
32
11.2 Future Language as a Collaborative Design Method
Future Language is a new kind of language comprising Future Words to discuss visions
of a desired future (Figure 26). Well-chosen Future Words capture what the desired future
achievement is, why it is important and how to achieve it. By using Future Words, people
share their vision and collaborate towards the future defined by the words. This study
discusses how to create future languages and shows three applications of this method:
renovating a workplace, designing a new café and drawing a vision of a regional
community. Results of these cases indicate the method’s practical effectiveness.
Figure 26 Three Aspects of Future Words: What is Ideal?
Why Is It Important? How Can We Achieve It?
The process of obtaining Future Words through dialogue is called Future Mining, and it
usually occurs during a three-hour workshop. More than two facilitators called
‘generators’ facilitate the process and share their ideas with the participating group.
Generator is a role played by workshop organizers who serve two functions to
successfully create future words: facilitation and creation. Generators sit on one side of a
table or room with participants on the opposite. Arrangement enhances the flow of
thought and action from past to future by means of sticky notes used to capture
participants’ ideas (Figure 27).
Figure 27 Workshop Setting for Future Mining
47
5.1 Background
In Japan, infrastructure maintenance has been enforced, especially after experiencing the
Great Hanshin earthquake of 1995. For example, national earthquake resistance standards
have been revised for residential buildings, and people are becoming more aware of
safety measures.
While the maintenance of infrastructure at the macro level is being pursued, disaster
risk reduction based on specific actions by individuals is still insufficient. Many people
died as a result of the lack of knowledge about disaster risk reduction in the Great
Hanshin earthquake of Japan of 1995. Yet, many similar instances occurred in the Great
East Japan earthquake of 2011, again causing serious injury and loss of life. These
instances demonstrate that significant knowledge about disaster risk reduction at the
individual level has not been sufficiently disseminated.
Survival Language proposed here is a methodology that teaches people to integrate
earthquake preparation and immediate disaster response into their daily lives so that they
can make the best decisions possible immediately when an earthquake occurs. The design
of Survival Language pro2 vides confidence in knowing what immediate actions are
critical when an earthquake occurs, because it consolidates accumulated knowledge and
generates efficient and effective actions for such circumstances. Another intention is to
help people to constantly be aware of the significance of earthquake preparation. This is
because as time passes after such events, one’s awareness regarding appropriate actions
during a disaster tends to fade.
Although the pattern language proposed here is written on the basis of catastrophic
earthquakes that have occurred in Japan (the Great Hanshin earthquake of 1995 and the
Tohoku earthquake of 2011). Such earthquakes occur around the world in places such as
the earthquake in California, USA (1994), the earthquake in Virginia, USA (2011), the
one in Valdiva, Chile (1960), the earthquake in L’Aquila, Italy (2009), the one in Sichuan,
China (2008), the Indian Ocean earthquake in 2004, the one in Christchurch, New
Zealand (2011), the one in Haiti (2010), the one in Kütahya, Turkey (2011), the one in
Pakistan (2013), and the one in Nepal (2015).
By finding a pattern language from the many lessons Japan has learned from
numerous earthquakes, Survival Language seeks to support survival during a catastrophic
earthquake around the world.
5.2 Overview of Patterns
Survival Language is focused specifically at the individual level. It is true that there are
many levels of community and governmental support when a catastrophic earthquake
occurs, but this support is useless if people do not survive the actual event. Therefore, the
first line of defence is the individual own strength, knowledge, and skills that enable them
to react as quickly and efficiently as possible when an earthquake strikes and to be ready
for the possibility of other disasters, such as after-shocks and tsunamis, that commonly
follow large earthquakes.
The structure of Survival Language is organized and the patterns are simple enough to
implement and integrate into daily life to achieve greater survival rates. The figure on the
next page shows the structured overview of this language, which is organized into three
categories: “Designing Preparation,” “Designing Emergency Action,” and “Designing for
Life after a Quake. “Designing Preparation” provides actions that can be implemented
14
Figure 4: Pattern Names of Learning Patterns, Collaboration Patterns, Presentation
Patterns, Change Making Patterns, Survival Language, and Words for a Journey
4. METHODOLOGY OF PATTERN MINING
Despite the method of pattern language has been applied to various domains, little has
been discussed about how to create pattern languages and its methodology is yet to be
Pattern Language 3.0
Sharing the Art of Living Well
with Everyday Creativity
Takashi Iba
Faculty of Policy Management
Keio University
10. Pattern Language 3.0
Sharing the Art of Living Well
with Everyday Creativity
Takashi Iba
Faculty of Policy Management
Keio University
“Pattern Language 3.0: Sharing the Art of Living Well
with Everyday Creativity”(Takashi Iba, 2017)
pages
11. Table of Contents
Acknowledgements
Chapter 1: Overview of My Recent Research ................................................................ 9
1. Pattern Language
2. Generations of Pattern Languages
3. Proposed Pattern Languages for Human Actions
4. Methodology of Pattern Mining
5. Methodology of Pattern Writing
6. Methodology of Pattern Illustrating
7. Workshops using Pattern Languages
8. Tools for Utilizing Pattern Languages
9. Constructing the Philosophy of Pattern Language
10. Psychological Understanding of Pattern Language
11. Inventing New Types of Language Methods
12. The Fundamental Behavioral Properties Behind Patterns
13. Sociological Perspective of the Creative Society
Chapter 2: Proposed Pattern Languages for Human Actions ................................... 37
1. Learning Patterns
12. Chapter 2: Proposed Pattern Languages for Human Actions ................................... 37
1. Learning Patterns
2. Presentation Patterns
3. Collaboration Patterns
4. Words for a Journey
5. Survival Language
6. Cooking Patterns
7. Cooking Life Patterns
8. Creative CoCooking Patterns
9. Generative Beauty Patterns
10. Personal Culture Patterns
11. Global Life Patterns
12. Parenting Patterns
13. Creative Education Patterns
14. Self-directed Learning Patterns
15. Generator Patterns
16. Workshop Generator Patterns
17. Open Dialogue Patterns
18. Project Design Patterns
19. Change Making Patterns
20. Policy Language
Chapter 3: Creating a Pattern Language for Creating Pattern Languages........... 75
13. 4. Utilizing the Pattern Language
5. Conclusion
Chapter 4: Agile Pattern Creation .......................................................................... 95
1. Introduction
2. Campus Planning with Pattern Language
3. The Method of Agile Pattern Creation
4. Conclusion
Chapter 5: The Philosophy of Pattern Language from the Perspective of
Pragmatism .......................................................................................................... 107
1. Introduction
2. Pragmatism and Pattern Language
3. Habit as the Goal of Pattern Language
4. Pattern Language as Pragmatic Vocabulary
5. Conclusion
Chapter 6: Pattern Languages as Media for Creative Dialogue: Functional
Analysis of Dialogue Workshops ........................................................................ 123
Chapter 3: Creating a Pattern Language for Creating Pattern Languages........... 75
1. Introduction
2. Structure of Proposed Pattern Language
3. Creating Process of the Pattern Language
14. Chapter 6: Pattern Languages as Media for Creative Dialogue: Functional
Analysis of Dialogue Workshops ........................................................................ 123
1. Introduction
2. Dialogue Workshop with a Pattern Language
3. Analysis of the Participants' Feedback of Dialogue Workshop
4. Conclusion
Chapter 7: Understanding the Functions of Pattern Language with Vygotsky’s
Psychology ............................................................................................................................ 135
1. Introduction
2. Vygotsky's Psychology
3. The Function of Pattern Languages as Vygotskian Signs
4. The Zone of Proximal Development
5. Inner Speech and the Predicate
6. Conclusion
Chapter 8: Pattern Objects: Making Patterns Visible in Daily Life ..................... 147
1. Introduction
2. Pattern Language and Their Media for Sharing
3. Pattern Objects
4. Prototypes of Pattern Objects
5. Conclusion
15. Chapter 9: `Feeling of Life' System with a Pattern Language ............................... 153
1. Introduction
2. From "Quality without a Name" to "Life"
3. "Feeling of Life" System (FoLS)
4. Implemented System: The 4th Place
5. Real-Site Event of “The 4th Place”
6. Conclusion
Chapter 10: Creating Community Language for a Collaborative Innovation
Community ............................................................................................................................ 165
1. Introduction
2. The Case of SFC Community Language
3. Using SFC Community Language in Dialogue Workshop
4. Conclusion
Chapter 11: Future Language for Collaborative Design .......................................... 173
1. Introduction
2. Future Language
3. Process of Future Mining
4. Applications of Future Language Method
5. Conclusion
Chapter 12: The Fundamental Behavioral Properties behind Patterns ................ 197
16. Chapter 12: The Fundamental Behavioral Properties behind Patterns ................ 197
1.Introduction
2. Wholeness, Center, and Fifteen Fundamental Geometrical Properties
3. Human Activity and Behavioral Properties
4. How Behavioral Properties Were Found
5. Twenty-Four Fundamental Behavioral Properties
6. Usage of Behavioral Properties
7. Behavioral Properties and Geometrical Properties
8. Conclusion
Chapter 13: Sociological Perspective of the Creative Society ............................... 235
1. Introduction
2. Systemic Viewpoint of Society
3. A Theory of Modern Society
4. Functional Systems
5. Co-Creation as a Functional System
6. Structural Coupling between Social Systems and Creative Systems
7. Conclusion
References .............................................................................................................................. 247
Appendix: Created Pattern Languages (2010 - 2017) .............................................. 257
A-1. Learning Patterns: Pattern Language for Creative Learning
17. Appendix: Created Pattern Languages (2010 - 2017) .............................................. 257
A-1. Learning Patterns: Pattern Language for Creative Learning
A-2. Presentation Patterns: A Pattern Language for Creative Presentations
A-3. Collaboration Patterns: A Pattern Language for Creative Collaborations
A-4. Words for a Journey: A Pattern Language for Living Well with Dementia
A-5. Survival Language: A Pattern Language for Surviving Earthquakes
A-6. Cooking Patterns: A Pattern Language for Everyday Cooking
A-7. Cooking Life Patterns: A Pattern Language for Enjoying Cooking in Everyday Life
A-8. Creative CoCooking Patterns: A Pattern Language for Enhancing Team Creativity
through Cooking
A-9. Generative Beauty Patterns: A pattern Language for Living Lively and Beautiful
A-10. Personal Culture Patterns: A Pattern Language for Living with Continuous
Self-fulfillments
A-11 Global Life Patterns: A Pattern Language to Design a Personal Global Life
A-12. Parenting Patterns: A Pattern Language for Growing with your Child
A-13. Creative Education Patterns: A Pattern Language for Designing for Learning by
Creating
A-14. Learning Patterns for Self-Directed Learning with Notebooks
A-15. Generator Patterns: A Pattern Language for Collaborative Inquiry
A-16. Workshop Generator Patterns: A Pattern Language for Creating New Values in a
Workshop
A-17. Open Dialogue Patterns: A Pattern Language for Collaborative Problem Dissolving
A-18. Project Design Patterns: A Pattern Language for Designing Great Projects
A-19. Change Making Patterns: A Pattern Language for Fostering Social Entrepreneurship
18. A-13. Creative Education Patterns: A Pattern Language for Designing for Learning by
Creating
A-14. Learning Patterns for Self-Directed Learning with Notebooks
A-15. Generator Patterns: A Pattern Language for Collaborative Inquiry
A-16. Workshop Generator Patterns: A Pattern Language for Creating New Values in a
Workshop
A-17. Open Dialogue Patterns: A Pattern Language for Collaborative Problem Dissolving
A-18. Project Design Patterns: A Pattern Language for Designing Great Projects
A-19. Change Making Patterns: A Pattern Language for Fostering Social Entrepreneurship
A-20. Policy Language: A Pattern Language for Designing Public Policy
A-21. SBC PATTERNS: Patterns for the Student-Build-Campus Project
A-22. Concept Language for Area Prevention of Disasters: The Otemachi-Marunouchi-
Yurakucho (OMY) District
A-23. SFC Community Language: Words that express qualities of SFC
A-24. good old future patterns: A Pattern Language from the Japanese culture
A-25. Holistic Mining Patterns: A Pattern Language for Pattern Mining on a Holistic
Approach
A-26. Mining Interview Patterns: A Pattern Language for Effectively Obtaining Seeds of
Patterns
A-27. Patterns for Designing: Pattern Mining Workshops
A-28. Pattern Illustrating Patterns: A Pattern Language for Pattern Illustrating
A-29. Dialogue Workshop Patterns: A Pattern Language for Designing Pattern Dialogue
Workshops
A-30. A Pattern Language for Creating Pattern Languages
19. Pattern Language 3.0
Sharing the Art of Living Well
with Everyday Creativity
Takashi Iba
Faculty of Policy Management
Keio University
“Pattern Language 3.0: Sharing the Art of Living Well
with Everyday Creativity”(Takashi Iba, 2017)
教授昇任論文
pages
27. Takashi Iba, "An Autopoietic Systems
Theory for Creativity”, Procedia -
Social and Behavioral Sciences, Vol.2,
Issue 4, 2010, pp.6610-6625
Collaborative Innovation Networks Conference 2009
Procedia
Social and
Behavioral
Sciences
www.elsevier.com/locate/procedia
COINs2009: Collaborative Innovation Networks Conference
An Autopoietic Systems Theory for Creativity
Takashi Ibaab
aMIT Center for Collective Intelligence, Cambridge MA, USA
bFaculty of Policy Management, Keio University, Japan
AAbbssttrraacctt
In this paper, a new, non-psychological and non-sociological approach to understanding creativity is proposed.
The approach is based on autopoietic system theory, where an autopoietic system is defined as a unity whose
organization is defined by a particular network of production processes of elements. While the theory was
originally proposed in biology and then applied to sociology, I have applied it to understand the nature of
creation, and called it "Creative Systems Theory". A creative system is an autopoietic system whose element
is "discovery", which emerges only when a synthesis of three selections has occurred: "idea", "association",
and "consequence". With using these concepts, we open the way to understand creation itself separated from
psychic and social aspects of creativity. On this basis, the coupling between creative, psychic, and social
systems is discussed. I suggest, in this paper, the future of creativity studies, re-defining a discipline
"Creatology" for inquiring creative systems and propose an interdisciplinary field as "Creative Sciences" for
interdisciplinary connections among creatology, psychology, and so on.
Keywords; creativity; systems theory; autopoiesis; pattern language
11.. IInnttrroodduuccttiioonn
In this paper, a new, non-psychological and non-sociological approach to understanding creativity
is proposed. The approach is based on autopoietic system theory, where an autopoietic system is
defined as a unity whose organization is defined by a particular network of production processes
of elements. While the theory was originally proposed in biology and then applied to sociology, I
have applied it to understand the nature of creation, and called it "Creative Systems Theory". A
creative system is an autopoietic system whose element is "discovery", which emerges only when a
synthesis of three selections has occurred: "idea", "association", and "consequence". With using
these concepts, we open the way to understand creation itself separated from psychic and social
aspects of creativity. On this basis, the coupling between creative, psychic, and social systems is
discussed. I suggest, in this paper, the future of creativity studies, re-defining a discipline
"Creatology" for inquiring creative systems and propose an interdisciplinary field as "Creative
Sciences" for interdisciplinary connections among creatology, psychology, and so on.
There are several reasons why study of creativity is pursued from so many angles today. First,
against the backdrop of the shift from labor-intensive work to knowledge-intensive work, many
people involved in business need to make full use of intelligence and creativity for obtaining
創造システム理論
Creative Systems Theory
28. The Future of Creativity Studies
• “Creatology” as a discipline to study creative systems.
• proposed as a cross-disciplinary framework by I. Magyari-Beck (1977)
• “Creative Sciences” as a interdisciplinary field to study creativity.
Cf. Natural Sciences, Social Sciences,
Network Sciences, Learning Sciences,…
Iba, T. (2009) “An Autopoietic Systems Theory for Creativity”, COINs2009.
創造学
35. Takashi Iba, "An Autopoietic Systems
Theory for Creativity”, Procedia -
Social and Behavioral Sciences, Vol.2,
Issue 4, 2010, pp.6610-6625
Collaborative Innovation Networks Conference 2009
Procedia
Social and
Behavioral
Sciences
www.elsevier.com/locate/procedia
COINs2009: Collaborative Innovation Networks Conference
An Autopoietic Systems Theory for Creativity
Takashi Ibaab
aMIT Center for Collective Intelligence, Cambridge MA, USA
bFaculty of Policy Management, Keio University, Japan
AAbbssttrraacctt
In this paper, a new, non-psychological and non-sociological approach to understanding creativity is proposed.
The approach is based on autopoietic system theory, where an autopoietic system is defined as a unity whose
organization is defined by a particular network of production processes of elements. While the theory was
originally proposed in biology and then applied to sociology, I have applied it to understand the nature of
creation, and called it "Creative Systems Theory". A creative system is an autopoietic system whose element
is "discovery", which emerges only when a synthesis of three selections has occurred: "idea", "association",
and "consequence". With using these concepts, we open the way to understand creation itself separated from
psychic and social aspects of creativity. On this basis, the coupling between creative, psychic, and social
systems is discussed. I suggest, in this paper, the future of creativity studies, re-defining a discipline
"Creatology" for inquiring creative systems and propose an interdisciplinary field as "Creative Sciences" for
interdisciplinary connections among creatology, psychology, and so on.
Keywords; creativity; systems theory; autopoiesis; pattern language
11.. IInnttrroodduuccttiioonn
In this paper, a new, non-psychological and non-sociological approach to understanding creativity
is proposed. The approach is based on autopoietic system theory, where an autopoietic system is
defined as a unity whose organization is defined by a particular network of production processes
of elements. While the theory was originally proposed in biology and then applied to sociology, I
have applied it to understand the nature of creation, and called it "Creative Systems Theory". A
creative system is an autopoietic system whose element is "discovery", which emerges only when a
synthesis of three selections has occurred: "idea", "association", and "consequence". With using
these concepts, we open the way to understand creation itself separated from psychic and social
aspects of creativity. On this basis, the coupling between creative, psychic, and social systems is
discussed. I suggest, in this paper, the future of creativity studies, re-defining a discipline
"Creatology" for inquiring creative systems and propose an interdisciplinary field as "Creative
Sciences" for interdisciplinary connections among creatology, psychology, and so on.
There are several reasons why study of creativity is pursued from so many angles today. First,
against the backdrop of the shift from labor-intensive work to knowledge-intensive work, many
people involved in business need to make full use of intelligence and creativity for obtaining
創造システム理論
Creative Systems Theory
36. Iba, T. (2009) “An Autopoietic Systems Theory for Creativity”, COINs2009.
創造 とは “発見”の連鎖である
40. 無我の創造（Egoless Creation）
井庭 崇, 「パターン・ランゲージによる無我の創造のメカニズム：オートポイエーシスのシステム理論による理解」,
7th Asian Conference on Pattern Languages of Programs(AsianPLoP2018) , 2018
AsianPLoP2018 WWS Version
1
Abstract:
egoless creation
1. Introduction
(Alexander,
1979, p.31)
Page 1 of 21
Illuminating Egoless Creation with
Theories of Autopoietic Systems
Iba, Takashi, Faculty of Policy Management, Keio University, Endo 5322, Fujisawa,
Kanagawa, Japan, iba@sfc.keio.ac.jp
Yoshikawa, Ayaka, Faculty of Environment and Information Studies, Keio University, Endo
5322, Fujisawa, Kanagawa, Japan
Abstract:
This paper examines one of the most important but overlooked concepts in pattern language
theory; creation processes without the self (ego). Christopher Alexander, the inventor of the
pattern language concept and methodology, focused on a generative mechanism beyond the
individual designer level and claimed that creation originated from this basis. In this paper,
first, the similarities between Alexander’s arguments and those of fiction writers who claim
that, ‘the author does not intentionally create the story; the characters in the story act on their
own, and the story unfolds itself’ are examined under an ‘egoless creation’ concept. Then,
egoless creation is examined through the theories of autopoetic systems: Social Systems
Theory and Creative Systems Theory. It was found that egoless creation is a state in which
the chain of generated discoveries within a creative system is experienced by the psychic
system, that the patterns in a pattern language work primarily as `discovery media' within the
creative system, and that pattern language facilitates a structural coupling of the psychic and
the social systems. Through these analyses, this paper illuminates the egoless creation
concept from a systems theory perspective.
Keywords: Autopoiesis; Creation; Creative Systems Theory; Egoless; Pattern Language;
Social Systems Theory;
ISBN (tba)
www.purplsoc.org
Creative Commons Licence CC-BY-SA
http://web.sfc.keio.ac.jp/~iba/sb/log/eid535.html
62. C CCConsumption Communication Creation
消費社会 コミュニケーション社会
（狭義の情報社会）
創造社会
Creative Society
人々が、自分たちで
自分たちのモノや仕組みなどを
「つくる」ことができる社会。
一人ひとりが自然な創造性を発揮する。
63. Society
economy
law
science
politics
art
religion
education
mass media
having / not-having
payment / non-payment
legal / illegal
true / false
beautiful / ugly
fit / does not fit
information / non-information
immanence / transcendence
better (performance) / wors (performance)
medicare
family
sick / healthy
sick / healthy
government / opposite
co-creation
better quality / worse quality
