This will be dust

Reminders of impermanence...


Hitting 8k followers now, thanks everyone for the constant support. Would love for everyone to SHARE/REPOST/LIKE this mixtape and have a listen.





SOUNDCLOUD: @jack_jill

Resident DJ at:
- The Perch Bendigo
- Universal Bendigo
- Yahoo Bar Shepp

Years ago I learned a very cool thing about Robin Williams, and I couldn’t watch a movie of his afterward without thinking of it. I never actually booked Robin Williams for an event, but I came close enough that his office sent over his rider. For those outside of the entertainment industry, a rider lists out an artist’s specific personal and technical needs for hosting them for an event, anything from bottled water and their green room to sound and lighting requirements. You can learn a lot about a person from their rider. This is where rocks bands list their requirement for green M&Ms (which is actually a surprisingly smart thing to do). This is also where a famous environmentalist requires a large gas-guzzling private jet to fly to the event city, but then requires an electric or hybrid car to take said environmentalist to the event venue when in view of the public.
When I got Robin Williams’ rider, I was very surprised by what I found. He actually had a requirement that for every single event or film he did, the company hiring him also had to hire a certain number of homeless people and put them to work. I never watched a Robin Williams movie the same way after that. I’m sure that on his own time and with his own money, he was working with these people in need, but he’d also decided to use his clout as an entertainer to make sure that production companies and event planners also learned the value of giving people a chance to work their way back. I wonder how many production companies continued the practice into their next non-Robin Williams project, as well as how many people got a chance at a job and the pride of earning an income, even temporarily, from his actions. He was a great multiplier of his impact. Let’s hope that impact lives on without him. Thanks, Robin Williams- not just for laughs, but also for a cool example.

—Brian (via tiredestprincess)

(Source: gypsy-hip, via soulful-kitty)


Veritasium on information, entropy, and randomness.

The problem with viewing the universe as information, in my view, is that it overlooks the role of perception and intentional participation, so that what is left is anesthetic automatism, which is literally the opposite of the cosmos. It’s a good thing that it is the opposite though, as we can just turn everything that we understand about information around to begin to understand what we are missing, because what we are missing is everything that has ever mattered in the universe.

To conflate entropy with information, for example, fails to account for sensory modalities. I use the example of a video of a glass of ice melting into still water. The thermodynamic entropy goes up, but the video compression entropy goes down as the image of complex ice cubes melting over time is harder to compress than still water sitting stationary in a glass.

Real information is not entropy, but a meta-selection of sensory encounters for aesthetic and functional purposes. At the very least, information is derived from the the flux between entropy and negentropy, relying on a higher order analysis to remember, compare, and change information intentionally. Intention itself is not possible to derive from information, and the natural orientation of the relation would, IMO, be to see perception-participation as the fundamental cosmic principle (the meta-arche), and information as a skeletal reflection of representation embedded within.

Think of the universe as a movie about making a movie. We could imagine that each character in the arche-movie, (the director, producer, cinematographer, actors, etc who are making the nested movie) each have a tertiary movie in which they are the star. Only the arche-movie contains all of these characters and their perspectives, but the nested movie and the tertiary movies all contain signatures of each other, which are meaningful aesthetically and sometimes functionally.

The information view would be like the camera’s view of the movie, if it had a view. The photography, optics, projection, sound synchronization, etc…all of that is the informational canvas which reflects the content of all of the movies. What is not information is the movies themselves - how attention works and the aesthetic pleasure of watching for the sake of feeling and being transported into stories. This is the true arche, the irreducible fabric beneath even the character playing the Director of the arche movie. Information does not compose itself into characters for fun. It cannot tell the difference between a movie star and an extra or a stage prop from the generator and lights used for filming.