<Cesar>We’ve understood that the arousal of the sense as much as the possibil-
ity of learning is conditioned by the context, and an absolute one does not offer
anything to separate or assemble. On the other hand a relative emptiness offers a
scene where surprising events can take place and inform. Open architecture can
be this scene where we can play and learn</Cesar>
<Teodora>We don’t know what creativity is, it is not just breaking the rule, it
can’t be just that, because that is not difficult. Not any novel thing is creative, in-
teresting or artistic. The richness of information either because some very creative
things are very simple.</Teodora>
<Cesar>Than how can new knowledge be acquired? How can one associate two
ideas? How can one, assemble, build an idea?</Cesar>
<Teodora>There is this bios to classify things from very early on. So if you give
a group of things to a 14 month (baby) they start to classify them. Most of the
learning is based on the similarity approach, and that’s why we use grouping more
than opposing things, because you would have to oppose so many things for them
to figure out, we don’t even have access.</Teodora>
<Naomi>You are looking for similarities at first, but hoping that by finding these
similarities, the student is going to find something new in them.</Naomi>
<Cesar>The activity of knowing is making groups, loose or tight ensembles, and
at the same separating them by classification, thus compartimenting, creating
boundaries between things – an architecture of the mind. The human mind can 
reconfigure these classifications – adaptive neuroplasticity.
</Cesar>