In Iran's Problem And How to Reconcile It, I have written my thoughts about the problem and the idea of graph collision and DNA merging. But the solution has not been proposed. I have never written how I see the two graphs should merge. Well, I said the merging of graphs is like the merging of two strands of DNA. What merges two DNAs? An RNA. It is not a game of chance or magic, an RNA walks on the strands, and decides what to keep from which one. It builds a new DNA based on the previous two.

Iran needs to be fixed and it cannot be fixed on its own. If you push two cultural graphs together the result will only be catastrophe. And that is why I believe 1285 can become the biggest revolution in the history of Iran. When you help grow polymaths who walk on the high dimensional space of knowledge and can navigate through different world and synthesizes new ani-environments and new graphs on the other ends of the Threshold of The Reverse Viewpoint, it becomes evident that 1285 will be the RNA. It has to grow people who are invisible, but they help merge the two sides such that the result is one Iran Cultural Graph that suits the both.

This is an impossible tasks, and a huge undertaking, but then, nothing that has ever orbited around the 1285 was simple or possible, and yet, look where we are today. I think my vision for a place to do civilization-scale threshold engineering is getting its shape.

[a decorative flourish or swirl separating the title from the body text]

I remember how I used to go to my parents’ offices and labs and think about the fact that “these are universes”. These are new worlds. At some point in my life; trying to have “A Place In Reality As Nice As Those In TV”, I began to decorate my room the way that I liked. Having a hole in the wall made me print pictures of what I liked and put them on the wall. Very soon my whole wall became filled with pictures of what I liked. And more and more I filled the space accordingly with things that made me happy.

One day; out of the ordinary my mother invited her friends to our place. She had invited aunt Azin and her daughter——my childhood friend-—“Nika”. And also another of our friends “Khotan”. Back then I was very shy and thought that I am a very uninteresting person. I had hardly found anything in myself that was interesting. And so when they came to my room and I saw Khotan fully immersed and really awed and amazed by it, I was also genuinely shocked. She had walked into my universe and had seen it.

Maybe outside of my room; to others; I was another human who they could see and think he has a bit different clothing. But inside of my room they were inside my universe. They couldn’t see any other world.

They were immersed. While Khotan was the first; she was only the beginning. People’s relation to me would have always been divided between the moment they came to my room and before that. While I never saw Khotan again, my Mom made me aware of how she had fallen in love with me as she had told it to her mother.

Somewhere in here I found out that my world is hard to explain and has just too many many elements. So it was a whole different world where others could experience and see it first hand. I realize now that it was a huge huge Sub-Graph Transfer.

My first reaction when I first found out about Maestro Victor’s Dynamicland was to notice that it is my room in the future. One interesting thing about the place for that matter is just how much of Maestro Victor’s life you can find here. For example; just imagine that his whole library is in there. While Dynamicland is my favorite effort in all humanity right now; I think part of it; or at least the main psychological reason for its existence is to have a place for Maestro Victor to invite others into and have them explore his really different world.

The person who understands my graph theories would by now see how “world” means the Mind Graph. I could always feel the pain Maestro Victor bears in not being able to convey his ideas and show his world to others and perhaps Dynamicland was a place where people could have a glimpse. And I saw his fascination later once he released the “Big Style” collection. It was amazing.

I am in love with much of what Maestro Devlin creates; her stages are invitations to see other graphs; other worlds. and there is nothing that powerful. Movies and the theater stages makes the world a truly different place as they have complete control over all portions of the places and elements and so that is it: The big style; it is all about showing what is real. there. These are Maestro Victor’s work. All about how people would walk in spaces and explore. But think about it; it is also the work of Maestro Kay in how he realized the desktop should show the recent things and how the windows should be not full screen so that we can see the recent things and have them in our minds?

There is always the thing with focus in the mind. That is perhaps like the Attention system in the In the LLMs. But what I know for sure is that the same thing — at least architecturally different — is in our heads. That is probably why we have rooms. (not literally — but for my purposes here) I imagine the idea of a Kitchen: When you are there your mind is fixed on making food. You are aware and reminded of forks and plates and the dishwasher. But did you even think about gardening tools? Of course not. Why should you have cared? or remember. You were not in the garden. Spaces are —— as Victor rightly understood——the most advanced tools for loading and presenting mental toolkit and focused portions of the graph.

I have written many times about subjects with words that I had heard that day or its yesterday. It is therefore all simple that when you see an ice cream now; you may order a affogato tomorrow.

Spaces are both the most advanced context loaders and some of the best mediums we have.