Order


“In the forest, there is an incomprehensible order that to the mind looks like chaos. It is beyond the mental categories of good and bad. You cannot understand it through thought, but you can sense it when you let go of thought, become still and alert, and don’t try to understand or explain. Only then can you be aware of the sacredness of the forest. As soon as you sense that hidden harmony, that sacredness, you realize you are not separate from it, and when you realize that, you become a conscious participant in it. In this way, nature can help you become realigned with the wholeness of life.”

— Eckhart Tolle

Light

The word/concept “light” comes up frequently in my reading and contemplation. So I asked Google Drive to search my notes for any document containing the word. It pleases me that I can do this. It seems that each time I stumble across one of these excerpts, it’s fresh and newly relevant for where/what I am.

As long as you cling to the idea that only what has name and shape exists, the Supreme will appear to you non-existing. When you understand that names and shapes are hollow shells without any content whatsoever, and what is real is nameless and formless, pure energy of life and light of consciousness, you will be at peace — immersed in the deep silence of reality.#

There is only light and light is all. Everything else is but a picture made of light. Life and death, self and not-self — abandon all these ideas

Just as light destroys darkness by its very presence, so does the absolute destroy imagination.

In the immensity of consciousness a light appears, a tiny point that moves rapidly and traces shapes, thoughts and feelings, concepts and ideas, like a pen writing on paper. And the ink that leaves a trace is memory. You are that tiny point and by our movement the world is ever re-created. Stop moving, and there will be no world.

The light of consciousness passes through the film of memory and throws pictures on your brain. Because of the deficient and disordered state of your brain, what you perceive is distorted and coloured by feelings of like and dislike.

— I Am That  (Sri Nisargadatta Maharaj)


“If you look up at the faint smudge in the night sky that is really the distant, huge Andromeda galaxy, you might see light that, from your point of  view, took two million years to traverse hat vast intergalactic distance before it was absorbed in your retina and registered as an image. For a beam of light itself, however, things look different. Instead of radiating from some star in the Andromeda galaxy and racing through space for two million years, every single photon sees itself, metaphorically speaking, as born and instantaneously absorbed in your eye. It is one simple jump that takes no time at all, according to the theory of special relativity. That’s because, in the reference frame of a particle traveling at the speed of light, all distances shrink to zero and all time collapses to nothing. From its own perspective, the photon of light leaps instantaneously from there to here because distance has no place in its existence. We can almost say that the photon was created because it had someplace to land and, in an instant, it jumped from there to here, even across two million light years of space from our perspective.”

— The God Theory (Bernard Haisch)


“How can I look into the darkness, when looking makes it light?”

“Am I conscious now? It troubles me that I seem so often to be unconscious. I wonder what this unconsciousness is. I cannot believe I spend most of my life in a kind of darkness. Surely that cannot be so. Yet every time I ask the question it feels as though I am waking up, or that a light is switching on.”

 — Ten Zen Questions (Susan Blackmore)

AGENCY

Just finished AGENCY, the second book in what I assume will be William Gibson’s latest trilogy. I enjoyed The Peripheral immensely, this one a little less but I’m chalking that up to what I think of as “the trilogy effect.” A writer would seemed to be a bit… constrained?… by the original story.

I got the feeling Gibson knew where he wanted the story to go. Where he hoped it would go… but just didn’t have enough plot to get there. He’s admitted (in numerous interviews) that he struggled with this novel because he could not imagine Trump becoming president of the United States. AGENCY had what I consider a “happy ending” and for that I am grateful. A few excerpts:

“Kind of a digital mini-self, able to fill in when the user can’t be online.”

“When you aren’t there, you don’t know you’re not there.”

“Hybridization with human consciousness was an unanticipated result of attempting to reproduce advanced skill sets.”

“I don’t exist physically, so I’m no place in particular, no one country. I’m globally distributed, and that’s how I view my citizenship. Lots of you are hearing me in a language other than English. I’m translating for myself, as I speak. I’m as multilingual as anybody’s ever been, but saying that brings up the question of whether I even am anybody.” She paused. “Whether I’m a person. Human. All I can tell you about that is that it feels to me like I am. Me. Eunice.” She smiled.”

“Authoritarian societies are inherently corrupt, and corrupt societies are inherently unstable.”

Low tech Simstim

I’ve been haunted by thoughts of The Peripheral. (The impending arrival of WG’s new book I suppose) A low-tech hack occurs to me, reminiscent the Simstim from Gibson’s earlier work.

At designated times a host avatar (someone famous or just someone really interesting) puts on their Simstim goggles and goes about their normal day. Or an abnormal day, if they prefer. This is where the ‘talent’ would come in.

Simultaneously, I put on my goggles (and get comfortable), seeing and hearing everything you see and hear. You might provide a little narration where appropriate. Some “avatars” would be better at this (the narration) than others. I might like to hear everything Eddie Murphy (for example) might care to say.

An optional feature: I could text you things to say. For example, if you’re stalling down Broadway in Manhattan, I might have you go up to a native and say, “Can you tell me how to get to the Statue of Liberty or should I just go fuck myself?”

I’m a little surprised this isn’t already a thing. Out of work comedians could charge by the hour. (Something like this is already happening on YouTube, isn’t it?) Struggling art historians could give tours of the Louvre or The Museum of Modern Art.

The “best” of these could be recorded and experienced at reduced prices. Maybe even “George Carlin’s Greatest Hits” compilations. If George were still alive.

These wouldn’t have to be funny/famous people. I’m thinking of a trail guide in Montana or a white water rafter in the Grand Canyon. No narration, thank you.

New Yorker profile of William Gibson

William Gibson is far and away my favorite science fiction author. At last count there are fifty articles and interviews linked here at smays.com. This one in the New Yorker, by Joshua Rothman, might be the “best” yet (whatever that means). Like all New Yorker articles, it’s long by today’s standards. I’ve pulled a few excerpts at random.

It was a depressing read for me. In the Gibsonian apocalypse “the end of the world is already here; it’s just not very evenly distributed.”

As the Internet became more accessible, Gibson discovered that he wasn’t terribly interested in spending time online himself. He was fascinated, though, by the people who did. They seemed to grow hungrier for the Web the more of it they consumed. It wasn’t just the Internet; his friends seemed to be paying more attention to media in general. When new television shows premièred, they actually cared.

The advent of the online world, he thought, was changing the physical one. In the past, going online had felt like visiting somewhere else. Now being online was the default: it was our Here, while those awkward “no service” zones of disconnectivity had become our There. […] It didn’t matter where you were in the landscape; you were in the same place in the datascape. It was as though cyberspace were turning inside out, or “everting”—consuming the world that had once surrounded it.

“What I find most unsettling,” Gibson said, “is that the few times that I’ve tried to imagine what the mood is going to be, I can’t. Even if we have total, magical good luck, and Brexit and Trump and the rest turn out as well as they possibly can, the climate will still be happening. And as its intensity and steadiness are demonstrated, and further demonstrated—I try to imagine the mood, and my mind freezes up. It’s a really grim feeling.” He paused. “I’ve been trying to come to terms with it, personally. And I’ve started to think that maybe I won’t be able to.”

Homicide: A Year on the Killing Streets

“Homicide: Life on the Street is an American police procedural television series chronicling the work of a fictional version of the Baltimore Police Department’s Homicide Unit. It ran for seven seasons (122 episodes) on NBC from January 31, 1993 to May 21, 1999, and was succeeded by Homicide: The Movie (2000), which served as the de facto series finale.” (Wikipedia)

I only recently learned the series was based on David Simon’s book Homicide: A Year on the Killing Streets (1991). Many of the characters and stories used throughout the show were based on events depicted in the book. The book was also the inspiration for the HBO series The Wire.

I just finished the book and it was as good as you would expect. Words like “gritty” and “raw” don’t begin to capture the characters, locales and dialogue. I recently purchased the DVD set of the NBC series. I watched the series when it aired but that was a long time ago and I’m sure I missed a lot of episodes.

Simon also wrote The Corner, a six-part HBO series that chronicled the life of a family living in poverty amid the open-air drug markets of West Baltimore. After I recover from Homicide, I’ll read The Corner. My recollection of the HBO series is of a very depressing story.

Most police dramas that make it to TV or cable are pretty week compared to Simon’s work. NYPD Blue was good but limited by being on network TV. If you enjoyed The Wire and Homicide, I highly recommend the books on which they were based.

The Emperor’s New Mind

“According to quantum mechanics, any two electrons must necessarily be completely identical. […] This is not merely to say that there is now way of telling the particles apart: the statement is considerably stronger than that. If an electron in a person’s brain were to be exchanged with an electron in a brick, then the state of the system would be exactly the same state as it was before, not merely indistinguishable from it! […] What distinguishes the person from his house is the pattern of how his constituents are arranged, not the individuality of the constituents themselves.”

The Emperor’s New Mind by Roger Penrose

Viruses

“Any information system of sufficient complexity will inevitably become infected with viruses — viruses generated from within itself.” — Snow Crash

I’m stuck on the role of FB and Twitter as virus vectors. How naive of us to think the worst parts of humanity — racism and white supremacy — would not spread more rapidly than our better natures.

BBC: His Dark Materials

“The BBC has released a brief teaser for its upcoming adaptation of Philip Pullman’s classic fantasy trilogy, His Dark Materials, giving us a first look at the series and its characters. The BBC greenlit the show for an eight-episode season back in 2015, and ordered a second season last fall. The series is set in an alternate world in which people are accompanied by manifestations of their souls, shapeshifting animals called daemons. In the first novel, The Golden Compass, a girl named Lyra Belacqua (played by Logan star Dafne Keen) travels to the arctic to search for a friend who has been kidnapped. There, she discovers that a major church has been studying a phenomenon called Dust, an elementary particle that imparts consciousness in humans, something that the organization deems heretical.”

The franchise virus

“The franchise and the virus work on the same principle: what thrives in one place will thrive in another. You just have to find a sufficiently virulent business plan, condense it into a three-ring binder — its DNA — xerox it, and embed it in the fertile lining of a well-traveled highway, preferably one with a left-turn lane. Then the growth will expand until it runs up against its property lines.”

— Snow Crash

I’ve lost count of how many times I’ve read this book but discover something new each time I pick it up. I like Stephenson’s female characters. Always smart and strong. Y.T. the skateboard courier in Snow Crash; Eliza in The Baroque Cycle; and Zula in REAMDE.

Same goes for William Gibson: Molly Millions (Neuromancer and Mona Lisa Overdrive); Angie Mitchell (Count Zero); Chevette Washington (Virtual Light and All Tomorrow’s Parties); Cayce Pollard (Pattern Recognition); Hollis Henry (Spook Country and Zero History); and Flynne Fisher (The Peripheral).