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Ideas: Difference between revisions
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== The Ideas == | == The Ideas == | ||
== Introduction == | |||
Throughout history, the manifesto has illuminated the path in the darkness, leading us to the peak. In the handbook, you have encountered the manifesto firsthand and perhaps noticed some initial changes. Our grand vision is our summit, that is, the collective experience of the manifesto. We have pointed out one or two examples along the way to make the manifesto more tangible. However, our goal was to avoid inappropriate concretizations as much as possible. How could we possibly advise the world's best expert on you specifically? A map cannot replace the experience of a walk nor fulfill its function. A map is merely a model of reality. | Throughout history, the manifesto has illuminated the path in the darkness, leading us to the peak. In the handbook, you have encountered the manifesto firsthand and perhaps noticed some initial changes. Our grand vision is our summit, that is, the collective experience of the manifesto. We have pointed out one or two examples along the way to make the manifesto more tangible. However, our goal was to avoid inappropriate concretizations as much as possible. How could we possibly advise the world's best expert on you specifically? A map cannot replace the experience of a walk nor fulfill its function. A map is merely a model of reality. | ||
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== For your family == | |||
Our parents raised us and were thus the first instance that gave us values. We also pass on values in this role. This process repeats itself from generation to generation. | Our parents raised us and were thus the first instance that gave us values. We also pass on values in this role. This process repeats itself from generation to generation. | ||
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== For your friendships == | |||
If we raise our gaze, we find people outside our family whom we learn to call our friends. We learn to categorize these people. Recategorizations of existing friends always take place. As the intensity of the friendship increases, so does the trust in the respective friend and thus the openness to exchange information. | If we raise our gaze, we find people outside our family whom we learn to call our friends. We learn to categorize these people. Recategorizations of existing friends always take place. As the intensity of the friendship increases, so does the trust in the respective friend and thus the openness to exchange information. | ||
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== For your suppliers == | |||
We are all customers. At our baker's or at our search engine. In these relationships, we can discover a lot of potential for improvement through open questioning. We also experience that ideas on how service could be improved do not always immediately find a receptive ear. | We are all customers. At our baker's or at our search engine. In these relationships, we can discover a lot of potential for improvement through open questioning. We also experience that ideas on how service could be improved do not always immediately find a receptive ear. | ||
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== For your technology == | |||
As with your circle of friends, a basic inventory can be a first step to create clarity. An inventory can help to recognise which technologies you use, what benefits they bring you, and which topics concern you in this context. | As with your circle of friends, a basic inventory can be a first step to create clarity. An inventory can help to recognise which technologies you use, what benefits they bring you, and which topics concern you in this context. | ||
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We will also achieve this! | We will also achieve this! | ||
== For Fashion and Taste == | |||
Let's start our ideas for fashion and taste with a brief thought experiment. Look around in the room you're currently in. Consider the clothing you're wearing. Imagine the house you're in. Take another look back at the pictures hanging on the walls of your home, and re-listen to the music you last heard. Recall the last book you read before that and the last dialogue you had. One final view, please, from a bird's eye perspective of the city where you currently are. | |||
We want to initially describe all these impressions as culture. Of course, these impressions will vary for every reader, but this experiment provides a great foundation for discussing the following categories that apply to all of us: | |||
Interior design. Furniture. Design. Architecture. Fashion. Music. Literature. Painting. Art. Communication. Narrative. Urban design. | |||
So it's time to turn on our stage lighting and ask the first questions: | |||
What do the images that you just saw look like? In other words, do you like these images? What do you like particularly? | |||
Now let us propose a new thought experiment: Imagine putting on a magical dreamer's hat. As soon as you wear this hat, the critic in you becomes completely silent and the doer, the one who wants to put everything into action right away, also remains in the background for now. | |||
Now, in your new role as a dreamer, imagine how these pictures you've seen earlier could look in order to appeal to you even more. | |||
Perhaps more color on the white door? A more colorful jacket? Maybe a new music direction with imaginative sounds? Perhaps more imposing Baroque? | |||
After these two thought experiments, we deserve a small break. | |||
Culture is like the air that surrounds us. We can now focus our attention on the breath, but usually, we are not aware of our breath. Not just momentarily perceiving the culture, but questioning it involves tremendous effort. | |||
Psychology has discovered over a hundred cognitive biases that provide a further explanation for this phenomenon. Basically, it's an atavism that occasionally becomes more visible and which was the best behavior for us a few hundred thousand years ago in order not to be eaten and to have enough to eat. | |||
However, since we are now capable of performing such effort and since we are capable of questioning our culture, a whole new door opens for us. | |||
What could a culture look like that goes beyond our present culture? How could such a superior culture, which we call post-culture, look like? | |||
Let's examine two of the categories we first shed light on, while still wearing our magical dreamer hat. | |||
We know from experience that learning works best when we perceive a stark contrast. We want to take advantage of this knowledge in our next thought experiment. | |||
Let's shine our bright attention on fashion right away. Let's juxtapose today's fashion with the fashion of another culture and another time. | |||
We believe that taste has not evolved for the better and the finer. This realization might surprise twice and hence it's quadruply valuable! Taste should actually improve over the centuries. Fashion should also improve due to the generally increasing prosperity. Let's take a short break and note: This realization alone is of immense value. | |||
So, what could new fashion look like, which mirrors good taste on the mirror? Again, some effort is needed, so let's end this little break. | |||
Looking at today's fashion worn in Western countries and comparing it to the fashion of other cultures and times, we find that the former fashion can be described with the two adjectives simpler and more functional in contrast to the latter fashion. A glance at the category of architecture confirms this. Yes, even furniture, design, and music have become simpler and more functional. What principle underlies this development? Why are no more works created today, which gloriously worship good taste? | |||
The answer is right in front of us, and it's no small disgust that makes us look at it: works are created to please many and to be especially lucrative for the creator. The disgust lies in the fact that we - although we wanted to turn to ideas for a new culture - are now occupied with identifying our prevalent economic system as the culprit and are struggling to give a speech in defense. | |||
But here we remember with pleasure our magical hat of dreams and postpone reflection, as well as a possible apology of the free markets, for later. | |||
But now we see the next challenges coming up. We've created wonderful fashion that shines anew and is a top tribute to our good taste. We have created fashion that brings tears to everyone's eyes and that again deserves the name culture. Except for us, who else would have the courage to wear it? | |||
Enough. So where are we now? Initially, we conducted an experiment to have this experience and to identify categories that are supposed to shed light on the term culture. | |||
We have thus hung all sorts of different panels on our wall and written on them illustrious concepts like architecture, fashion, art, and communication. We then turned to fashion first and after initial insights, checked it in architecture and music. | |||
We identified taste as the culprit and the market as its accomplice - more than that - as its patron. So before we put the prime offender on trial, we want to take a close look at taste. | |||
Our society is essentially prescripted a culture that neither represents current societal conditions nor is a culture that would be forward-looking. Therefore, the state-imposed culture is largely a dictate, which by law forces us to live in the past. | |||
The objection that the people vote and the representatives carry out the will, we do not accept. This is the insidious thing about what we understand by democracy today. It undermines everything new and all processes that could lead to something new. What we understand by democracy today first puts blinkers on everything, castrates everything that isn't common and ignores all that could provide feedback. But the new is never common at first. The new is always at first the property of the few. What we understand by democracy in Western countries today resembles an intellectual museum, even more, an intellectual crematorium - and can, by definition, consider nothing new as possible. | |||
We understand that the subsequent descriptions may seem unfamiliar to all who have not paid any attention to these observations so far. Nothing is more difficult to recognize than what surrounds us every day. Just like we never notice our breathing, although we are constantly breathing. | |||
Let's start with time. Every 7 days is Sunday, and all shops in Europe close. God, too, took a break from creating the world, so we should do the same. But is that good for us today? Is that good for our future? | |||
Holidays. Please tell us now, what does Ascension Day, Pentecost, and Corpus Christi entail? Please also explain why Mother's Day, Women's Day, and Children's Day are not holidays. To sharpen our question: Why are nebulous fairy tales that never happened a few thousand years ago and have no social significance today, more important than our mothers and our children? | |||
Church tower clocks. We have another question: How often is the phone battery dead today, no one else there, and so we need the unmelodic hourly clang from the towers of the churches? | |||
Libraries. Why do our public libraries have opening hours that are even a cut above the opening hours of the Savings Bank in Smallcowsville? Then, please compare the range of your public library with that of a well-known online platform. Think not only of libraries, but also museums. | |||
The aforementioned examples should convey an impression, in which dimension we question, have no claim to completeness and are not important in detail. We have mentioned that our goal is to create a culture that goes beyond our culture - a culture of the future, that deserves the name high culture again. | |||
We believe that state artist, music, literature funding is first and foremost occupational therapy for art dilettantes while simultaneously employing an army of useless bureaucrats. | |||
We create an open post-culture that promotes and celebrates the future. We will set up laboratories in all communities and cities where young and old can gather and tinker and hack together with 3D printers, VR glasses and laser cutters. | |||
This is just one idea how you can achieve a lot with minimal means. | |||
We can do it! | |||