The world around me is as it is, nothing remembers Kamwa . It feels I’m grieving a loss in a parallel world. If it was about a human, the hyper-message would have made it seems like a film, it would decor the world for me to feel a loss. I’m however living without any sign of Kamwa disappearing, this is killing me. It is as if I forget, because there is nothing to remind me. I miss him so badly.
Everyday, ██████ and ███████ say they will have an attack, and then nothing happens. It is so stressful. On the other hand, these monsters are taking away all the properties of everyone they resent, and killing without even an excuse. It is war time and every horrible action is permitted to them.
In talks with Faeze , I have yet again realized that what I want for the 1285 website, needs for itself to be a piece of anti-environment art, but deep. 1285 is about thresholds and anti-environments, so the best version of it should have everything to be anti-environment. Like Dynamicland website or the Archive , and that’ll require years to build. So I have to settle for something in between.
Another problem with 1285 moving slowly, is that if each iteration becomes “know-to-be-known” then it will not be an anti-environment at all. That is why I’m trying to work in the dark and reveal my work once it is too complete and strange.
These new hero animations that I have added to everything in Archive has made it so amazing. You don’t feel any discontinuity anywhere.
Today I had to have meetings with Tayebe and S. ████████ , both of which seems to have been disappeared… that makes me relaxed, when I don’t have the mental capacity to answer.
I added so many new animations to Archive . Now everything is like the Keynote’s magic move, you search, you find these things and when you click on them, they jump from the search screen to their own screen. It is so cool!
I was thinking about concertos today, how they have so much limitations that it brings creativity out. The length, the orchestra, the expectations of the movements… Many of the creative people—include myself—believe that limitations and structures in expectations makes their minds create really nice things. I guess in 1285 I must ask people to make “concertos”, and I have to remix this term to a whole new level of meaning.
One thing I have hardly previously written about 1285 , that I find to be a very important basic assumption is that 1285 is about remixing: You study the elements of the world, (the tools) and then you remix them. That is the only way I know that permits the creation of alternative worlds with the tools we have today.
And remixing is the essential idea of play, exploration, and creativity in the Mind Graph ( 1285 )
It is one thing to see anyone, it is one thing to seeing their dead bodies.
A stark choice faces humanity: save the planet and ditch capitalism, or save capitalism and ditch the planet.
Fawzi Ebrahim
Our world is hitting many walls and barriers. In Really Understanding Evolutionary Progress , I tried to explain how each system produces some small local perfections, while producing massive problems. We do not sell our systems by their mistakes, the do by local perfections. There is a duet of problems spiralling together towards a total catastrophe. One is, the problems of the world are direct results of the system itself. Capitalism neither can, nor does it want to save the plant from itself. The competition of who arrives at the money earlier—as all competitions do—needs a sponsor, and the planet is the most generous of all. So can the planet be saved via new Earth friendly businesses? No, the problem cannot be the solution.
Neoliberalism has achieved an incredible stranglehold on our thinking in recent decades. Even people who genuinely care about the environment have started to believe that market-based solutions like pollution offsets and carbon trading offer a better solution than government regulation and enforcement.
Fred Magdoff & Chris Williams, Creating an Ecological Society
Towers
We build our computers the way we build our cities—over time, without a plan, on top of ruins.
Ellen Ullman
Human systems are like towers and cities. We build them over time, brick by brick. When the cause of a problem is the tower, polishing a tower has little to no change. Imagine the broken educational systems of today and all that Sir Ken Robinson has written in Creative Schools (Ken Robinson & Lou Aronica) for that matter, or Paulo Freire in Pedagogy of the Oppressed (Paulo Freire) . The industrial-era education, the batching, the banking system, the oppressed image of the oppressor, the killing of the creativity, all that there is about education that is fundamentally wrong and inhumane. How do we solve it? It certainly won’t be with a different paint for the school walls or to have psychoanalysis training for the teachers.
This is where the idea of classical music metaphor comes in. The classical music was advancing for such a long time and it was advancing good. No other genre had what it had, the music-theory technology, the glamour that came from the kings and queens listening to the royal chamber orchestras.
When Apple first revealed Siri, it could set reminders and alarms and play our favorite playlist. The advertisement was perfection, but except those advertisements, rest of the world couldn’t use Siri. Siri was optimized for a very specific list of commands, and everyone thought they could actually talk to it.
