What is the negative space of following mandated behaviour? The allowance of social life is what allows cultural evolution to progress. This allowance is not governed by only being present and being the most optimal kind of actor possible. It also depends on the kind of landscape one can navigate. The landscape is not just the present. It is the hybrid interface of time that opens up into each moment a bracket of the past, the future and of course the ongoing enigma. This navigation is…
Enjoyment is necessary but it offers a break from ordinary life that is largely not enjoyable. Life engulfs, sucks us in, spits us out and we have nothing to show for it. There is no reward at the end. there is no bonus for behaving. So we might as well have fun, while we are here. Fun is not a shared, universal concept. It is difficult to figure out what kind of fun to have and how to have it. Because fun is just about making a transition from the current frame temporarily and not actually…
Parallel is a concept that frames the possibility of total separation. Lines that never meet and maintain consistent distance all the way to infinity. Infinity can only be imagined and that too in a reduced form. So the statement that parallel lines meet at infinity is a kind of statement that establishes nothing and is absurd. For the sake of logical certainty, so that arguments can be taken forward, such speculative statements have made the foundation of disciplines and thereby puncturing…
The bridge between experience and narrative is formed by associations. Associations seem to be a collective noun, but they are not. Associations are linkages. Neither experience by default is complete. It has to be made complete by establishing associations. These associations are not formed randomly. There is a method and a rationale. One reason can be understood to be the urgency of experience. Things happen very fast and force you to make an association and assimilate them so that you can…
Before we have a story, before our story has a graph, it will need to have a skeleton. A skeleton describes the material of the story in the form of a meta-description. This meta-description is possible to tweak without the sentiment and emotional investment that the characters demand. Much before the story even becomes intertwined in situations, characters and the colours and smell of life in general, it is a blueprint. Narrative are seeds of stories, sometimes they succeed in germinating and…
