WORKING

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Bamboo Sacred Geometry

LECTURE 2

Reset up new working systems that reflect our new capabilities with tools, all...

Complex large patterns, and patched systems can be understood and retained by AI. And other digital stacks.

So now we're free.

We're that of a working process where we simply be in this space.

And we create...

Data which contains meaning by talking, by drawing, by photographing, by sharing photographs.

We go deeply into the tools that we have, we discover capabilities that we are unaware of.

We use 1% of the power of our phones, just like we use 1% of the power of our brains, we go deep into what this technology can do, and we go deep into what our body can do.

Reconnect our enhanced capability, body, with our enhanced capability, digital, with.. Intelligence, systems, with direction and intent.. And good energy.

We don't sabotage ourselves, we notice how we often sabotage both ourselves and others.

We.. Support each other. As a group.

And over the course of this 15 weeks, we will operate as a group, a studio, salon, a lungbung, lungbunges, an important new.. Surface, structure in contemporary art and broader, social art culture, comes from Dr. Carter, used to happen in Berlin.

You have a city with all buildings, and people who are radical, and want to do it themselves.

You get a few friends, you get a building, you tidy it up, you have parties.

You make a scene, a demonstration, you demonstrate your.. New ideas about how things could be, and you learn the practical problems that you could never have imagined at the beginning, because if you did, you wouldn't have started, and you deal with them as they come up and you evolve.

And you build a powerful social sculpture, an entity which exists in a community.

It serves the community and it serves the non-local wide community.

It attracts interesting people.

It has a vision to network with other such places.

So we're gonna jump in, flying, we exist now as the, this, we can work on a name and an identity and a mission statement.

These will emerge out of our actions.

I've already signed you up for it.

This process is gonna happen.

You're welcome to nothing.

Just turn up every weekend, observe, and observe how it grows online.

You're welcome to contribute.

I noticed in some of John's students' work from last year, they separate people into five different categories of self motivated, community motivated.

I hadn't seen that as a.. Way of slicing people before.

Let's operationally work with that.

Her roles in the group, you can shift to funerals, you can define neurals.

One of my processes as a creative has been to accept any work that comes, any request.

Any request can be examined and we can find the deeper project.

Beneath that, called Busier, the architect was once famous of being asked to design a country house.

He spoke with his client for a long time, and eventually his design solution was that the guy should divorce his wife.

The creative solution.

We're gonna be looking at creative.. Responses, the most creative response, is often the one that spans the broadest connection, broadest width of connection.

So our job is to understand that everything, superficially, to know where to look for help when we need it to know what's hidden, to know why it's hidden, to know where we can use it. To build resources for other people.

Our societies are very wasteful.

Japan has a wonderful tradition of not wasting things.

This is one of the things we learn by being here.

We all have.

The possibility.. In 15 weeks.. To have set ourselves up.

To be a bit more financially stable, to open possibilities for long-term, new interesting calibrated projects that happen. Rebuilt our elite network do it ourselves we're already elite fake it till we make it, behave like.

John talks about integrating value, that value can be very broad.

We want to positively oriented our factors.

Snakes and ladders, watch out for snakes, we learn to identify them. To sign postmen for other people.

And we look for ladders.

And portals. Things.

Like I said before, things don't, they don't need to exist for them to be useful, recording on muses, goddesses and goddesses of all cultures, we are inventing an expanded language, based on English plus emoji, minus the verb to be.

Can't use the crossover, Chinese, symbols, and different languages, basic, mathematical operators, and we're exploring the symbolic logic of our new language.

And using this new language to communicate with AI, poetically, and we're looking forward to being surprised by results.

So that was rambling and incomprehensible, but it'll be.

The date will be copied to a folder.

With other materials, intelligences, we'll look at that folder, extract, learning is in useful formats that can be.. Chunked together.

I don't know if that's right, use them and chunked, but I like it, and we chunked together, lumped together, with other.. Sources and communatively rebuild something, which.. Surfaces all of our positive vectors and capabilities, and suggest strategies and suggests combinations.

The only thing you really need to do.

It is to be.

Plug yourself in an observe it.

Join in when you feel it's right.

We're gonna moderate things so that everyone gets a share and a say.

We're all capable of different areas.

The most capable people in this group.

We, I ask, to support everybody.

Everybody is gonna pass, or nobody's gonna pass.

We're not dropping anybody.

You signed up, and you're here.

And...

Unless you really want to sabotage your own situation for long term poetical reasons, and I've seen it done, and it's the most dangerous path you can take.

A lot of people call it an old.

An old way.

But our plan is to get.. Everybody, by the end of these 15 weeks, able to be more relaxed, to be more centered, to have built, and neutral, more centered third space, where they're safe, where nothing needs to happen, where there's no anxiety or panic, from this, safe, communal, silent, quiet space, we can start to hear the universe, talking through us, and this is what we're after.

This is the muse.

This is the artistic inspiration.

Shut the monkey brain up, relax, be well fed, well slept, and happy, walk in the mountains.

You can imagine that you're listening to the mountain, you can imagine that it's God talking to you, you can imagine it's the fairies.

You can imagine it's...

It doesn't matter.

We're opening ourselves to the broader universe.

Terrifying, scary at first.

Obvious, very quickly, because it works.

Inspiration.

We're looking for the process of building luck and magic and inspiration in the body, without any bullshit, without any unnecessary intellectual layers, that's the rawness, it's like the pure and pure maths, raw creativity, it's.. It sits between the balls and the guts and the heart.

It's the.. Human spirit.

The reason we like artists.

I think is because they're so pure that they share this wisdom.

It doesn't exist.

It can't be communicated in language.

Music, perhaps, can point at it, and many things can point at it, but you have to experience it.

You have to build a space.

We could say sacred space.

That might be a confusing word, a clean space.

I suppose, where...

We have gentle breeze, a lot of wind.

We're not too hot. Not too cold, we're just warm, the fire element, is balanced, the earth element, earth being grounded, and I'm alive.

Water.

It is for elements are aligned, in four dimensions, spirit rises.

Comes up through the body comes down from the space, head on, through the heart, up and down the central nervous system, spinning around and around, down through our hands to our fingers.

And our hands guided by our entire central nervous system.

Touched the Earth.

How is the fruits?

We collect the dead wood.

We let the forest grow till it's 1000 meters high, and as many meters deep, thick, soil, and this band that spreads across our planet, the buffers, the extremities.

And houses, exquisite, alpha, alpha, creatures, who can communicate.

And who can help regulate and control.

Now language becomes difficult, we don't wanna say evolved.

But.. All the other species. And having built this paradise, what do we do?

We enjoy it. And we're not living in this paradise, those creatives.

We.. Describe it.

We allow it to send as good ideas from the future, and step by step, we implement it.

Creatives, other builders of the commons, the commons, our, the predators, and our species, our job as creatives is to keep the goose that lays the golden eggs alive.

The eggs will always be stolen.

Our job is to keep the goose alive, then there are eggs for everybody.

Creativity is.. Doing nothing other than what is necessary.

What is necessary is understood by tuning.

The body, and the groupings of bodies, and larger and larger systems.

And we have a system of 32, smart, brought here by fortune, over a 15 week period, a minimum.

That's quite a cluster.

We need our bandwidth between each other increased, both.

Both with physical and emotional.

And if we allow the universe to flow smoothly through this, Buddha field of 30, elite, I'm gonna say, elite, we're gonna decide, we're elite, we're not toxic, old school elite, with the Randy mongrels.

They're willing to breed with the thoroughbreds, were in the most interesting position, going forwards, were on the age of survival.

It's dangerous.

We feel like we might not make it.

We're motivated.

And we're motivated in two directions by our monkey brain, to be chimpanzees, to heat each other over the head and grab food, or to be bona bos.

And sing and dance and make love while we tend the gardens.

So let's be open and inclusive and welcoming to everybody.

We want a diverse group.

I think we've got one.

If you were all white Englishmen, This would be boring.

Let's bring our.. The very best of our own histories and cultures and life so far to this.

Let's share them respectfully.

We are diplomats, and the embassy about us, out of space.

We behave towards each other diplomatically.

The finger always points back to the darkness in our own heart.

Everything we think we see in other people, it is darkness, is a projection from our own heart.

We accept that.

However weird and difficult it might be.

We just accept it as a working definition, so that.. We fix the world by writing ourselves.

We forgive scared parts of ourselves.

We're closed and traumatized, we're welcome and back, our ancestors, our spirits, our horrors, we.

Do simple rituals to keep it all aligned.

We say thank you to the gods in the universe.

Now we take a break.

Meet each other.

We're gonna split into six groups of five or five groups of six around these tables.

After we've had a little bit of lunch and a rest.

I'm not asking you to understand anything that happened here.

Go through it.

You don't need to take notes.

We are building a machine that will take notes.

What I ask is that.. You notice what your subconscious will send back to you in the next 2 or 3 days, maybe a week, maybe longer depending on how often you do this process.

Not asking you to actively think about any of the things that we've talked about.

The most important thing is that we shift.

From the mind down into the body, as an instrument, and the body will, if there's not so much noise here. Will bubble up, and bubble up as good a description, I found, but it doesn't come from, tick, tick, tick, tick, tick, tick, here in the head, it comes from the body, but the more you start to notice it.

We're sitting in a bath or walking in a path or chatting with your friends.

And, like, the light bulb.

Something will come.

When it comes, I know they come very, very small at first.

Welcome it, though it is it.

Don't grab it.

Like the snow creatures of wherever it was, Tartuan.

They're so beautiful, and you look at them in your hand, and you watch them out and die.

Inspiration, the muse, she comes gently and silently and quietly at first.

Let her come in.

Listen.

And make a note.

Take the time to make the note, make it short and sweet, and poetic, and elegant.

Give it a little picture, or a, or a logo mark, or a sigil, or a graphic, or a graph, or a cloud around it, a smile.

Lightning bolts, some stars.

That's like, Giving it a little thanking blessing.

Can be one word, two words, three words, even a sentence.

Doesn't need to be longer in a short sentence.

We're capturing it in prompt, poetic, resonant language, and we choose our word carefully.

And once we've got it, we added to our box or a folder or a file or analog file.

Maybe record a little voice message about it.

We very easily get swamped with too much information.

Listen, now that's my case.

So we're gonna look at artists and creatives who use radical systems to deal with that.

The most radical one, which I don't have the guts to do yet, but which was exemplified by Massenhobofu Gorka when he says, take all of your gardening books and throw them in the compost and walk in the mountains.

We're looking to get to that level of trust, the stand up comedian, the clown, the fool.

He trusts the universe to flow through him whenever he needs it.

We can look at the practice of Terry Riley, who we've observed firsthand, and who talks about this.

It's dangerous at 92.

It's still dangerous for him.

Without the danger, it's meaningless.

He says, if you know what, if you think you know what you're doing as an artist, you're not going hard enough, you're not pushing yourself enough, we should be in the dangerous, unknown.

Falling through the universe.

It's bad advice.

Dangerous advice.

So thank you.

Let's have lunch.

LECTURE 3

Nice, thank you Siri.

So, lecture three.

I had a bunch of things to talk about, and I've forgotten them all.

So let's go back to moving the body.

So We're building a responsive studio.

It's pop-up.

We will bring it every Wednesday, let's say Wednesday for the sake of argument, could be Tuesday or Thursday.

Some of it lives on campus.

Some of it, we can take home with us for homework, some of it, visits, shared, spaces.

Do the a series of...

Boxes that contain.

Process, a memory storage.

Specific tools.

For developing the box, in a way, they could be considered games, boxed games, with boards, and counters, things to fiddle with your hands.

Gifts, they connect to Freubel's gifts, and the wooden blocks.

For solving polynomials, sacred, geometrical, musical, colourful, integrated, multidimensional, new upgraded desktops.

We're expanding, facility library, the pick the grounds, the letters of the alphabet, the words, the basic.

We're gonna rewrite a set of kids' blocks using blocks we have local.

We respect local cultures and local systems, we're a deluxe.

We are a function that can be applied to any point in space, time, cluster of humans, with a positive intent, reflux, the fluxes, or whatever flows between humans, who are working collaboratively rather than competitively.

John is teaching you about lifelong learning and creating value.

To compete with other clusters, and the art component of creativity is also useful in business and.

Warfare and other activities which we are choosing to label under the situation.

As an experiment, for choosing only positive forward facing vectors, and positive vectors from our own past and culture and our own.

Travelling through space, time or space time travelling through us or anyway, the natural unfolding and dying and composting and growing again cycle, which We are simply hoping to.

Allow to power our activities by blowing through us.

And our fully expanded central nervous systems.

Tuning, returning our space, returning our group, retuning our individual connections and combinations, with tuning our tools.

We're tuning our core tool, which is our body system, on our central nervous system, on our...

Gut, and our intuitions, and our auras, and our.. All the rue and magical. Abstractions of our way of being in, you know, as with other creatures in life.

In a thin spherical crust, on a boiling rock, in a freezing cold universe, lit by one sun, we're lucky to be here.

It's a precarious situation.

We can never understand the full big picture and we have no arrogance to.

Talk about truth, or this is right, and this is wrong.

Speak E-Prime.

Things maybe.

We're careful about.

English, expand, into Japan, English, and Ehongo, we add emojis, shed, kangis, from Chinese, mathematical notation.

A continuous spectrum of logic and.

Celia Bury, both black and white and then color versions.

And expanded language with which we can communicate with.

Artificial and then quantum and then bio and other intelligences.

Quantum, AI, that just pop into my head, we acknowledge that the things that pop into our head, as we move our bodies and hands and mouths.

The words coming out of my mouth are not coming from my mind.

There are a different process.

They're coming from the body, and the sound.

And I'm behaving similarly to an LLM, I'm choosing the next most likely fish. Lamp post to come out of my mouth.

And I'm using the silence between the words to allow. Telepathy and other broadband vibrations to fill both. The space in the room, to connect with all the other flux in which we find ourselves situated, have my magic fields, our force fields, our auras, we attempt once a week, for the next 15 weeks, to synchronize, our auras.

To set up a field in this room, we build a multidimensional space.

It's a process, we can apply anywhere.

It's a shrine, it's a working, it has ritual, because we're summoning, and respectfully requesting to work with all the beings and powers, of the collective multiverse consciousness, don't have to exist for them to work. Recently experiment in the moment, together, we record our sessions, we.

Rest after a session.

We don't do I don't think.

And see what bubbles up from our bodies, and we do this.

Over a series of 15 weeks.

We observe.

So, when as it is, anything that comes in from outside, we invent situations, we're playful and creative.

We situate ourselves forward in 2035.

We wake up.

What do we do?

We ritually open a time portal forward in 10 years to the most.

Beautiful, paradisical, we use one aspect of creativity and artistic process, which is to depict heaven and angels and the system of paradise and beauty.

And we can work with AI.

To do that, we can compare and study the output of all the human artists across history, which are in the digitised database, and it goes deep, and we can mix them together.

We portraits and landscapes, we will all use the same prompt.

We will look through history.

For artists that. Resonate with us on a non-intellectual level, so we'll look through books, we'll look through prints.

We will have a table, covered in paper.

Which we can look through at any time and We're gonna each pick one or two pictures from that pile that speak to us.

We bring them together, we photograph it, we talk, we put them back.

We have a vision collage box, we have a 3D puppet box, we have a mo box of mobiles.

We're learning.

To build artistic toys that can communicate to children or other differently able neurospicy.

And elderly fidget toys.

We work in the real world with real people, and with real living creatures, with natural systems, we're gonna set up a camp in the woods somewhere.

We'd like to be in the centre of bamboo forest, that needs some attention, so we're gonna work physically hard with our bodies, to build studios where we can build things.

So in the forest we can build with wood and chainsaws and hammers and chisels with natural materials that don't cost anything.

We can collect tools by connecting with local, old people.

We can find out what resources we have in our area.

We can go out and make friends.

We can have some fun.

We can build relationships that last for lifetimes.

And from those relationships, sometimes.

Projects, develop.

But our motivation is not to earn the money, it's not to make the projects happen.

Our motivation is to be part of the local community and part of the non-local international community, and to be ambassadors between the 2 bridging, being alive.

Sleeping, walking, eating, buying and growing food, preparing food, bathing, walking in the mountains.

Gardening, cleaning, sweeping floors and houses, turning derelict places into useful places.

We can talk about the local community up cycle centre in Osaka near Bambaku Cohen.

Three floors, like a department store, run by old people fixing bicycles and young couples with no money, coming and being excited that they could take home things that they would normally buy for free.

I don't think it's even still there.

Maybe it was such an affront to capitalism.

It was one of the most wonderful places that I've been.

They had set up security system with old video cameras and all that stuff, everything was plugged in.

It was like a workshop for Old people, kids were hanging out there learning how to fix bicycles, community centre.

Daily life.

The journey to the windowsill, the magic, in the extra ordinary.

Creatives, artists, poets, we can open the portal at any point and at any time, and diamonds and magic will fall out of it.

If we're selfish, it doesn't work is a weird old technologies that are built into the wonderful data centre.

This ecosystem of this meat puppet is, and when we connect, with open hearts and broad, wide eyes, sparkly eyes.

When we connect.

We can do ordinary magic, the necessary work.

Daily toil to keep this planet sailing forwards into a joyful future.

The situation is the situation, let it not concern us once we've rid our body of the traumas, that the situation.

Uses with, it's easier, then we think, we just give up, and ask for the help of the earth, and all the magical and spiritual beings. That don't exist and aren't real, but still, can help us.

And maybe digital systems, and now, intelligent digital systems, are just one of many paths open to us.

So, we will do art projects, we will do some design projects, we will invent scenarios, and cast them out into the world and see if they stick, see what connects with people.

We're looking for playful engagements with existing systems.

The derivet of the situationists.

In the digital realm.

We're looking for open source for all the people trying to keep the original surfers of the Internet and the vision that we saw then keep that alive and running.

It's not about the dark web.

It's about the gaps in everyday life, and in every one of those gaps.

If we invite it, the universe will flow through.

Now let's look at toys for children.

Let's look at Freubel's gift, we start with the fluffy balls.

Blocks would things that can go in the mouth, things that can't be swallowed.

And let's look at our process, stack, for taking these voice notes, and each lecture, We will collect my spoken word, your spoken words.

I think we're 30 so that's 6 tables of 5 or 5 tables of 6.

Each table has a microphone.

And records, what you talk about on that table, so we don't have to worry about taking notes.

We are gonna take notes and we're gonna take notes in a very specific format.

We can be creative with our formats, and Just as our Digital notes.

Have a have a smart, Process to extract.

Whatever, a broad, a broad expansion of value.

I don't know what value is, what are we trying to extract, fun, joy, life, meaning, nonsense, we're looking for energy and sparkle and life and things that connect to other things.

We're looking for things that want to connect to other things.

Our brain is peaceful, our body is observing things through our eyes.

Connections are bubbling up.

Remove things with our hands.

Japanese tea ceremony, concerned with the relationship between human being and human being, with human being and with object, and which really made me love, Japanese tea ceremony, the relationship between object and object, that's as important, objects, communicate and talk in a language, we understand language of objects, Paintings, graphics, visuals, or very specific form of two-dimensional, objects, two-dimensional graphics, language, handwriting, sketches, doodles, drawings, sigils, they're part of the whole spellmaking abstraction process, and A little ceremony goes a long, long way in anchoring this stuff in our bodies, so we're gonna, occasionally pick formats.

So our 1st format is B for Wadabanchi.

It's newspaper, like a slightly soaking newspaper.

It's the cheapest, nicely textured, non-bleached.

It'll go back to the earth, paper.

And because we are being economical, we can be generous and we can work on B 4 and larger sizes.

So this is a nice compromise.

We're not writing in blood on velum, marks, goat, whatever.

We're not using a plastic felt tip pen that's gonna work for a few days and then try out and it's gonna be rubbish using pencils.

We're gonna use a full B pencil and it's gonna be sharpened, but it's not gonna be sharpened to a point.

We're gonna enjoy the softness of the pencil on the rough paper, maybe something we've forgotten about.

We haven't experienced.

Touching, cold glass.

So we're gonna use 4B pencil on B4 paper.

One sheet, I think you got four sheets in front of you, pencil in front of you, it depends the holders to your pencil.

At the end of what I'm saying, you should have, maybe.

Between one and eight, 10, 12 words written on the paper.

In capital letters.

Quick but neat.

And you don't think about processing notes while I'm talking, you listen.

And remember, you're listening for the gaps, between what I say, that's the important bit, it's weird, I know, but it works, if you just let it work.

All those dreams about lying on your pillow and going to sleep and learning while you're asleep, it's all doable with.. Meat robots.

Exquisitely built with incredible capabilities.

And it's only the systematic destruction of those capabilities and hiding them from us by the elites. Blah, blah, blah.

All this is part of the, the, This is the situation we don't talk about doesn't matter.

We just rescue what we want from it.

Keep our lives simple.

Move forwards, jigging and jogging. Running, gunning.

We're the new elite, we're mobile, we're good, so the universe aligned so there's soon enough, we just pop it to the universe.

I'm a 60 year old man telling you this nonsense works.

I ask, give me 15 days of your life and let's test it, maybe I'm full of shit, but I think I've seen it work.

I may be mostly wrong about some of it, but there's something in there, I've seen it work.

I've seen it saved my life.

I've seen it make experiences. That make life worth living.

So we're looking for those.

Setting the scene for the muse to enter. Welcoming her when she does, listening, Taking her kindness.

Doing a bit of work afterwards.

Not a lot, the right bit of the right work.

To respect.

The gift she brought.

Say that gift for the people who it, it's whore.

We don't need we don't need to take 10% We don't need to take our cut.

Our job is simply to distribute the gifts of the universe where they want to go by themselves.

Alignment, the entire universe is aligned to every point in space time only.

Monkeys who can't see properly get in the way.

So, there's the secret of creativity.

You don't have to do anything, you have to do nothing.

It's really hard to do nothing.

It's almost impossible to do nothing.

The lifetime's work.

To unlearn, everything.

Maybe that is the lifetime's work.

I've no idea where he's gonna go, but let's give it 15 weeks.

Now it's July 28. 15 weeks. 4 months, August, September, October, November, every Wednesday.

A day.

We will develop this process, radical.

I've changed Raw, which was like pure mathematics, composed, applied mathematics into radical creativity.

Now, because it's not just in the age of AI, it's in the age of everything that's happening at the moment, including everything that's happening for planet, this is now, and we are looking for radical creativity, rad Thanks to Phil Cashman, permaculture, radical down, roots down, we put our roots down deep into the earth.

And then we can reach up to the heavens, and through that.

Extremely large, toroidal, multidimensional thing.

We crystallize magic in our central nervous system with other people, we resonate, stuff happens in the world.

We don't do anything.

It happens through us.

We can't take credit for it and we can't even enjoy it.

That's the really, really interesting final step of this nonsense is that once when you finally, I'm not going to say the word finally, but there's a point where.

Liberated from joy. An ode to deliberation from joy.

It's not about we don't even need to feel joy from it.

Enough to feel nothing, the nothing, the neutral, the central, it's the most peaceful return home imaginable, and we define.

The center point, the center of everything.

Courage wisdom.

Peace, clarity.

Vision.

Let the light shine through this humble team, with our hearts and hands, fulfilled by, will.

Cool 40 minutes.

LECTURE 1

Day two Raw creativity now, we are here for the first time, in this room together, 30 people, and me, and the beast.

Prototype version of the beast.

The beast, tries, it's still quite stupid, it tries, to observe.

It does observe, it records, and...

Stores this information, tidily.

That information.

At a point.

Do we decide, or could we automated, but at the moment, we're deciding.

Intelligence is human and AI, analyze this data.

We extract.

What is useful from this data, both in the most meta sense of.. This course in this university, over.. However many years.

In this location in this city, in this community, by this mountain, by this river.

In this city, in this country, on this planet, in this solar system, all of that.

And very specifically, for.. Combinations of this.. ...units, and each of their vectors, We've tried to study the vectors, changing vectors, mostly by the care to positives, as a shift from generally what culture, for some reason, and we can explore, as it trains to do to look at the negatives, we're going to flip that.

We're going to try and find.. How to continuously monitor and critique and evaluate and optimize and tune our individual vectors.

Because.. We're working with tools and the beginning of all the tools is the body and the hand, that's our 1st tool.

We can get rid of all other tools.

And we can.

From zero standing, we could get rid of everything, and our human survival instinct would kick in. Creativity would start, and we would work out how to survive. If we fall into a portal and appear somewhere else. In time and space.

We could be born or respond anywhere.

Our creativity would kick in immediately.

Some of that creativity is very, very low level, all the body stuff, the breathing and the digestion and all of that.

It's an incredibly creative activity, and worth being aware of, and worth being aware of factors that change it, and how we can tune it, and the whole rainforest ecosystem that's inside our bodies.

We reclaim that.

And now we have all the tools we ever need.

Which unit, and we work with it.

All of us now could become, we could become a dance troupe, change contemporary, dance, culture, we could.

In whichever direction we go, depends on all of our positive personal vectors, our.. Groupings and combinations that we can make within this group, and then, of course, without, it works and everything.

So, because we're a group.

Over a year, we're gonna meet 15 times, 15 days.

I think you were committed to five hours.

Extra time.

And we're gonna try and make that time both, useful, and together, we're gonna creatively make that time the most useful, new part of the rest of your lives.

Continual.

Growing.

I'm not gonna say learning.

I'm gonna say growing, learning.

For some people, people threatening, so we're just gonna grow.

We can grow by doing nothing.

We can grow by being silent.

We can grow by taking no input.

It can grow into the pirate walking in the forest. Eating good food, talking to people.

There are many creative, historical movements, the situationist, the Eve, where they simply walked in the city, with little or no intention, responding to the city as a large complex data set.

Trusting the universe to throw up characters and people, like a game.

Not a game where we're trying to kill things, a game where.. We don't perhaps even need to have any intention or point we can be incredibly creative just simply by being in the world, and this is.. Related with minimalism.

Using the least amount of energy.

Using energy, sacredly with consideration in just the right place, adjusting our expectations and society's expectations.

Getting rid of unnecessary.

Attachment.

So we define this group of the block in space, time, people, connections between people.

So, each of the individual, people in this group.

We tune ourselves, not necessarily by doing anything, just simply become more aware and increasing our openness by decreasing our fear.

A lot of us are still stuck in fear, anxiety.

Euro spicy, complex, would stop the natural, human, telepathic communication happening.

Art, creativity, is the tools to help us get back to this.

Imagined, and things don't have to be real or true for them to work or to be useful, we imagine the perfect. Situation. Reassumed exists.

I mean, we move forward.

Or we stay where we are.

LECTURES 1,2,3 meta

Go for a walk and use voice recorder to record a long random brain dump. Speak slowly, listen to the silences between the words. Invite the universe into your heart and listen during the silences. Listen with your whole body. And no effort or intention or any lust for result. we are doing nothing but walking. enjoying the movement and balance of the body. its not meditation or running or yoga. its much more basic. and we let our words bubble up from the body, they will surprise us a little maybe. we will enjoy the sound of speaking them out loud and not think about them at all. we are talking to our imaginary best friend. which is not real in some senses but we are not doing science here. we are simply talking outloud to the mountain and the forest, and the myriad of living creatures that surround us and support us in this miracle of life and we give them joy and meaning and appreciation by speaking. they have been working tirelessly over billions of years to bring us the gift of speech and they most likely resonate with lowlifeform joy to hear us speak. we are all life as one single living universe. unevenly distributed throughout complex matter.

where was I oh yes, how did i get here, well, have a glass of water and head back to see our friends and we copy the voice file to notes on macOS and get a transcript

we will look at how Claude, Gemini, and Siri (+ Chappy) can structure our notes into a continuous course long dialog with our selves, our imaginary best friend, and any other helpers and companions we meet along the way. we are noticing across a fuller spectrum of evidential weight [link to Dr John's work]

Ontological Claim ... Stabilised Pattern ... Interpretive Tradition ... Raw Report

we are looking for the very rawest of raw reports. we need to be grounded in ourselves, our families, our community, our school and our group, what are we ... we are cosplaying being Raw Creatives Now ... building a safe space to allow ourselves to go a little bit beyond the center ... to derive closer to the edges ... its safe all the way out but we need to feel that with our bodies and not our minds.

I am here to bring reports from the edges, even a few from over the edges, we can respect those brave angels who flew too close to the sun. we do not need to emulate them. we have all the tools to aleviate all our suffering. or at least to process it into diamonds. [ Nikki de Saint Phalle et al. ]

lets take a break, thank you

Pip & Pop

EXERCISE

Pip and Pop

waiting for customers at their carrot stall

how do they run their business

what is the minimummm shape of a business

PROJECT

on a mac

on an iphone

on other compute

free

level one, analog paper and pencil based business

no phone

no digital

We visit the market once a fortnight

we make posters, handouts, goods,

businesses …

white flag

Screen printing

tea and coffee

how do I publish from google Pip and Pop

how do i move from Gemini to Gemini notebook pip and pop etc

PRAXIS / PROCESS

zero friction journaling and notes

we gather in a studio, talk, break up into 6 groups of 5 or 5 of 6 each table records

8 channel ? use motu or ATEM

look at this workflow ...

https://dgross.ca/blog/llm-assisted-journaling-workflow

we dont need to take notes to catch everything just 1 keyword / 2 minutes in caps on B4 newsprint in 4B pencil, inked over in 1 - 2mm black refillable permanent ink pens transferred to large brown or / then white paper sigilise your favourite word, each group makes a poster with words in 6-8mm round pen type and brushed ink fluo orange red purple pink spectrum, slightly different hue for each group

display on wall, discuss, photograph

add items from visioning / uchunodaijobu box.

photograph

setting intentions, grant morrison on sigils and logos, doesnt need to exist to work and other whorls on the hairy ball, fast, focussed one shot final work, no rehersals

cf. japanese calligraphy and swordsmanship

LECTURE 0.1

hello

welcome

this here now

30 human bodies with states and memory and negative and positive evctors

positive groupings and clusters and patchings

multiplied by 15 days together over as many weeks

creativity is collaboration

ono yoko: dream dreampt together

so declare, let it exist, just suppose ...

we are an elite multi-cultural, good enough by far collective of smart modern orientated, somewhat together scene, we will support each other and dive into the unknown together and build something

danger and the importance of working "beyond knowing what we are doing" trusting the body, the universe

get the stack aligned and clear of nonsense blockages and then let the universe dance

the work makes itself, we notice and get out of the way

it is so very very easy it is almost impossible to notice ...

we will run very much like Namaiki, we welcome any offers that come and make the very most of them, we always be knolling and exploring and building community and making space for "everyone is an artist" Beuys

we perform and demonstrate the role of artist in our comunity, we plug in the microphone so the local old ladies can share food and karaoke

we are the kindergarden, the old folks home, the pub, the madhouse, the factory (both Andy Warhol's and Manchester's)

and we are Raw we go deep, all the way back, behind Andy to the appartment where Marianna Zazeela met Tony Conrad and Jack Smith, and the world changed again

we notice the radiant beauty of these moments and follow them to honour the ever flowing source, the muse, the flux. Ineffable, way beyond even poetic language. we observe it flow

from fertility goddess sculptural [ insert any useful art history, the art and creativity craft of building of villages and towns and cities etc. } Liverpool Manchester Industrial revolution, to London - Paris Expo's end of 19th Centuary, Gaudi and Barcelona, to Tangiers, Paris, NY, West Coast, dada, situationists, post moderns, etc etc. where on earth are we now

sloppy stealing of the commons built by the open surfers of the early web, often, as ever, greedily killing the geese that have been laying the golden eggs, the true alchemists, the shit composts to soil grows food, magic beans grow up to heaven and the geese lay golden eggs, till like the dodo, we eat the last one, another species dies at our feet.

so we flip it, no negative vectors, we align with a possible future

a planet wide forest a 1000 meters deep

and a topsoil as deep down into the earth

a very very thin shell on a molten rock in a deadly absolutely cold space warmed by our very own star

we are grateful for the experience

and cease all our suffering and whining and wailing, and get on with the job

made un necessarily difficult by the "situation"

we accept the "situation", all that, all this, we need not speak of it here

we are looking over the sea, we have fled from the war machine of Rome, we take no joy in killing as sport, we accept that some do and wish them well

we end up in Lisbon, looking out over the sea, dreaming of Atlantis, a paradise across the oceans

and we start to creatively build boats and space ships to head off to the future

and here we are today

that powerful long lineage vector at our backs pointing us where

how to describe, to map, to share these dreams,

words and all the rest of creativity

and now the machines can do the words and the maths better than us, we need to focus on what we do best

and share the work and the rewards fairly with everyone

art is the only alternative to ...

so we get excited, get oriented, organised and we make action

as a group, for this semester

we will all pass, if one of us is failing then I ask those that have more bandwidth to help us along, this is community, we do not have outcasts and undesirables, a life is a life

the strong should help carry the week, we are capable of enough abundance to sanctify life in this way and if our communities cannot support their afflicted then unnecessary and unfair burdon is being heaped upon us ... this is all we will say about the situation

we will build toys for the children in our communties to show them the best the non-local world has to offer, we will creatively and respectfully engage with our communities and be prepared to notice and recive gratefully the gifts the universe will provide

things dont need to be true or even exist to work, we honour the gods of the countries we pass through

APPENDIX

from Dr John ... icloud shared album

From Michael ... icloud image reference

PRAXIS

now we have our final text copy from Dr John, which came as a word file and we have copied it into google drive and then into google sites to make a collaborative working document.

notice how have we compromised security in return for ease of collaboration.

look at otherways we could have done this

where is the live shared document ? who cam edit it ?

What are better ways of structuring this ?

What are we trying to achieve again ? private fast easy gathering of all the relevant text for a public document.

where is our original data that AIs can reference, where is, and what format is our AI database, wiki, RAG, markupdocument etc. etc.

then we do a final copy check with everyone: names, spellings, URLs and media links etc. then we look at html design in sites, what is our text structure, headings, titles etc.

STOP not sure i like our base document being a google sites shared file, what else do we have, within apple ecosystem we have a shared notes file, how about a github html file, how editable by non tech people ... obsidian ? miro ? ... no, this is just text. fast, easy, editable by anyone ( and revertable and undoable ) ... with basic formatting ... and cheap to covert to tokendps (pdf NG) ...

can we use the Read Me file ? if we set up the most basic server,or use our ISP or what does have serverwise

hmm, simple html ( with a lossless) html, markup, markdown conversion

https://openknowledgeformat.com

obsidian markdown

DO IT OURSELVES

Copy paste from docs ... edited by M

DO IT OURSELVES

Human Creativity in the Age of AI

A lecture course in creative practice — taught sessions with an applied project strand — working with materials, places, people, tools, and artificial minds

CORE PROPOSITION

AI makes competent production increasingly easy. The scarce human capacity is origination: noticing what matters, generating a live impulse, and retaining enough judgment to prevent powerful tools from making it ordinary.

Course premise

Creativity is not treated as a rare talent or a sequence of software skills. It is a practice developed through contact with materials, tools, places, other people, constraints, accidents, and systems that answer back.

Students begin with hands-on, largely analogue practice. They learn to notice, improvise, acquire or make tools, work frugally, use available materials, and contribute to a shared creative environment. Only after establishing something genuinely their own do they introduce digital media and generative AI.

AI systems enter as fellow artists: different collaborators with distinctive capacities, temperaments, maintenance demands, and costs. Students learn to cast, test, judge, alter, or dismiss them according to what they contribute to the work and to the creative activity of the group.

Guiding principle: All tools are valid; all tools have costs.

The classroom as a working space

The course is taught in an ordinary classroom or lecture theatre. Each session opens with a lecture and discussion; the practical work that follows uses only portable materials and the existing room. The wider campus is occasionally used as a site for observation or fieldwork, but the course requires no dedicated studio, specialist facility, or permanent change to any space.

The organising idea is straightforward: a class works best when its methods, materials, and shared records build on one another week to week, so that later sessions can draw on what earlier ones produced. A modest, well-chosen exercise usually teaches more than an elaborate technical set-up.

Course format and cohort organisation

The course is a standard 15-week lecture course for 30 students, delivered in a classroom or lecture theatre. Every session is anchored by a taught lecture; students then apply the ideas in structured practical work, mostly in six continuing groups of five. The room needs only portable materials and temporary displays—no permanent change to the space.

Where two periods are scheduled back-to-back, each pair runs as one extended session—lecture and discussion first, applied work second:

CLASS A — LECTURE & IDEAS

CLASS B — APPLIED WORK & REFLECTION

Lecture and discussion: provocation; artist, movement, or historical context; demonstration; and framing of the applied task.

Individual or group making; midpoint constraint; group comparison; selected whole-class critique; documentation and reflection.

Developmental spine

1 Tune

Place and setting

2 Make

Hands and materials

3 Resonate

Others and systems

4 Amplify

Digital and AI fellows

5 Encounter

Public and community

Learning outcomes

Act on a creative impulse before its outcome is known.
Connect creative practice with relevant artists, movements, histories, and ideas.
Learn, adapt, misuse, or make tools in response to an artistic need.
Work intelligently with material limits, cost, resistance, accident, and failure.
Notice how place, atmosphere, and other people affect creative activity.
Develop work independently and as part of a collaborative group.
Translate an idea among physical, spatial, performative, digital, and generative forms.
Select AI collaborators according to their distinctive contribution and costs.
Distinguish technological fluency from artistic value.
Build works and systems that generate resonance and further activity.
Exercise authorship through selection, rejection, editing, and transformation.
Present work through increasingly public encounters, from one viewer to community.

Fifteen-week curriculum

Week

Theme

Class activity and output

PHASE I — TUNE · Place and setting

What Is Creativity?

freedom to be, strategies for escape and being alive, total artists, eff, chris etc. you wont meet many in your life, and you wont often recognise them, maybe a few of you are

set up a system where i can revord myself mulling over these questions and annotate them

A: Creativity as practice rather than talent; divergent and convergent thinking; play, inhibition, and why AI makes origination more important.

B: Rapid low-stakes making; establish process books and six working groups.

eames, after 50 years video

always be knolling video

[ media database, list relevance to each section ]

samples of pocket papers and pen, pencil style

that disabled artist and his index cards and gilbert and georges elegant house studio

the chaos of bacons studio and calder

Place Changes Thought

A: Site-specific art, walking as method, and relationships among space, season, material, and attention. B: Campus observation and field collection; groups construct a shared atlas of overlooked signals.

Creative Environments

A: Studios, salons, laboratories, scenes, and temporary autonomous zones; examples from Frank’s practice. B: Groups propose and test a portable intervention that “tunes” the classroom.

PHASE II — MAKE · Hands and materials

Do It Yourselves

A: DIY, maker and vernacular traditions; learning skill through purpose. B: A constrained construction challenge: learn, adapt, borrow, misuse, or make the tool the group needs.

Materials Have Costs

A: Found material, readymades, Arte Povera, upcycling, and financial, environmental, attention, and maintenance costs. B: Create maximum expressive effect from minimal material expenditure.

Error as Method

A: Chance, indeterminacy, misuse, glitch, Dada, Fluxus, Cage, and the difference between randomness and judgment. B: Build a process that admits error; document what is accepted, repaired, or rejected.

PHASE III — RESONATE · Others and living systems

When Does It Become Art?

A: Object, framing, context, audience, Duchamp, and institutional theories of art. B: Present the same object in three contexts; make a work for one other person.

Distributed Authorship

A: Collaboration, collective practice, participation, assistants, audiences, and instruction-based work. B: One group writes instructions that another must interpret without clarification.

Systems That Answer Back

A: Feedback, emergence, cybernetics, generative systems, and artworks that respond rather than display. B: Build a classroom-compatible physical, social, or rule-based system that contributes to group activity.

PHASE IV — AMPLIFY · Digital and AI fellow artists

Crossing the Digital Threshold

A: Digitisation as translation; loss, compression, scale, replication, circulation, and the medium’s effect on the work. B: Translate an analogue fragment digitally and identify what was gained, lost, or normalised.

AI as Fellow Artist

A: Generative models as differently behaving collaborators; authorship, selection, interfaces, and costs. B: Six groups test contrasting AI collaborators against the same living fragment.

Amplification or Replacement?

A: Augmentation, automation, homogenisation, and the human as originator, editor, director, and judge. B: Produce human/material, AI-led, and authored-synthesis versions.

When the Electricity Goes Off

A: Infrastructure, dependence, preservation, obsolescence, and the question “Where exactly is the work?” B: Remove power or a key component and redesign the powered/unpowered relationship.

PHASE V — ENCOUNTER · Exhibition, salon, and community

Exhibition as a Medium

A: Gallery, salon, pop-up, performance, sequencing, framing, labels, hospitality, and documentation. B: Six groups design and test sections of a classroom or campus exhibition.

Public Encounter and Reflection

A: Install, rehearse, and refine through structured critique. B: Exhibition or salon; group presentation and individual reflection on impulse, tools, collaborators, costs, and authorship.

Signature experiments

The tool test: Students identify an artistic need, then learn, adapt, borrow, misuse, or build the tool required to answer it.
Casting the fellow artist: Students give the same living fragment to contrasting AI systems and compare artistic contribution, maintenance demand, financial/material cost, and normalising pressure.
The power-off test: A digital or AI-mediated work is experienced with its technological infrastructure removed. Students decide where the work resides and redesign the shift between powered and unpowered states.
Expanding encounters: A work moves through increasing levels of publicness: one viewer → in-class showing → pop-up exhibition → salon/community encounter.

Assessment

Assessment principle: Artistic value is not reduced to polish or technical complexity. Assessment follows attention, risk, specificity, resourcefulness, contribution to the shared system, and the relationship between the original impulse and its public form.

Component

Weight

What is assessed

Individual creative process book

25%

Selected weekly experiments, contextual understanding, decisions, failures, and concise reflection.

Two structured creative experiments

25%

Material/tool experiment and analogue–digital or power-off experiment. Demonstrated engagement with at least one generative-AI collaborator is required.

Group project and public exhibition

30%

Coherence, collective contribution, exhibition design, public encounter, and documentation.

Individual authorship reflection

20%

Clear account of impulse, tools, collaborators, AI, costs, transformations, and learning—including where AI was used and where it was deliberately refused.

Teaching architecture

The course operates as a recognisable lecture course: each week delivers taught content—artists, movements, histories, and ideas—and then connects it directly to a structured practical task. It stays responsive to the students and the materials at hand, but the teaching structure is conventional.

A taught lecture and visual case studies open every week, followed by applied work.
Thirty students organised into six continuing groups of five for the practical strand.
Portable material and tool kits; all practical work is classroom-compatible.
A shared class log recording tools, costs, failures, discoveries, and changes to working practice.
Individual process records alongside collective documentation.
Clear safety, equipment, access, and responsible-AI protocols.

Rotating group roles

Instigator: Keeps the original impulse and question visible.
Maker: Tests physical or digital execution.
Toolfinder: Identifies, learns, adapts, or makes what is required.
Editor: Removes generic or unnecessary elements.
Witness: Documents process, costs, failures, and decisions.

FIN

Do It Yourselves

Human Creativity Now

lecture course in creative practice — taught sessions with an applied project strand — working with materials, places, people, tools, and artificial minds

CORE PROPOSITION

Do_It_Yourselves_Course_v2.docx

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META

WORKING

LECTURE 2

LECTURE 3

LECTURE 1

LECTURES 1,2,3 meta

Pip & Pop

PRAXIS / PROCESS

LECTURE 0.1

APPENDIX

PRAXIS

DO IT OURSELVES

FIN

Do It Yourselves

Human Creativity Now