Presentation 23

Transcript (PDF)

The Future and The New Past
Presentation 23 of 52

Presentation 2-10
Presented by Roger Weir
Saturday, June 6, 2015

Transcript:

Let's come to the 23rd presentation in this year of preparation for 2016, which is a very powerful year given the time form of civilization that we inhabit.

The largest rhythm of time in the universe is gauged by space as space time. And its expansion is an ongoing infinite process because the source out of which space comes is time. But the source out of which time comes is a zero-field infinity. And time comes into play as the first dimension, as the dynamic of energy. It is a movement, but it is movement that integrals. And so, as space blossoms out of the energy of time, the universe within that space-time then carries the integral dynamic, and you get the so-called progressive development of what we find ourselves in some 14 billion years later, which actually is open ended. It's opened, ended not in space, which is expanding. And it's open ended not particularly in time, though that has no limit. No boundary. But it's open because the source of space-time itself is what used to be called eternal.

And so, when the integrals developed more and more complexity and led not only to phenomena as matter and organic matter, life and developments and evolution and so forth. Onto us. Some 6400 years ago. the evolution of the integral of life in our kind led to through the complexity and higher and higher integral of culture, all within a natural time. Flamed into civilization with a development of a written symbol system called written language. And this appeared in a couple of places. Not just one place but a couple of places. And written language then gives a triple braid to time as time forms. They're forms because they're integral, but they accrue significance with their complexity as the metronome of civilization, which is written language which is read. So that the reading and the writing form a kind of yin and yang. One has to be able to receive the written language in reading. And those two together form not a parallel or a dialogue, but a complementarity. And out of that complementarity comes a triple time form, which has a very complex rhythmic cycle, because one can graph the frequency of energy and one can graph the frequency of time. If you know what time it is.

And so, one of the great questions in the late 1940's in the beat literature. Jack Kerouac writing The Sutra of the Golden Universe begins, "What time is it in the universe anyway?" Our cosmology, based on the Big Bang, says it's 14 billion years. But in terms of civilization, one can trace back the written language form when it became comprehensive enough to express meaning in the written symbol structure.

And one of the largest time forms there acts what in physics and mathematics, in fact as well, is called a carrier wave. That carrier wave, like all carrier waves, establishes its oomph by having a reference wave which gives a calibration to its energy. That is to say there is a reference wave that is a forerunner of how that carrier wave is going to progress. And because there needs to be an overtone, as well as that undertone of the reference wave for the carrier wave to have its melodic, to have its music. The overtone has been given a name in the 1920's as a pilot wave in early quantum mathematics. De Broglie. De Broglie was, Louis De Broglie was actually a French prince. He and his brother. But they were wonderful mathematicians and cosmetologists, cosmologists.

And it is that triple of the reference wave, the carrier wave, and the pilot wave. And pilot waves are always persons. There are always persons who comprehend what is emerging and how it has emerged. And so, there is a sense of a history which continually refines itself, which we call in this yearlong series, the new past. It isn't just past. It's not dead. It's refinable. And so, the new past, in terms of a pilot wave comprehension that is there in a very big complementarity. That time form is a continuity. And its continuity carries the ability to make stable structures, but also has inherently a differential quality which is able to make new proportions, new harmonics, new ratios.

And so, the complementarity of integral and differential into a complementarity allows for pilot wave persons to not only understand the new past within the continuity, but that that continuity gives one the visioning capacity for the possibilities of the future. And it's this spectrographic array of the possibilities of the future, which though technically and mathematically infinite, has high probabilities. But it has something deeper than probabilities, which are an integral way of addressing this situation. And that is that the tensegrity that is carried by the continuity will have a preferential pair of vectors that tensor what vision when it becomes not only acute but astute can foresee.

It is this quality that 2016 has. It has the carrier wave that pinpoints itself about 1991. And so, 2016 is about 25 years or a generation after the trigger of the carrier wave. And about 375 years after the reference wave, which was about 1650. And vision is very refined. And increasingly in the 20th century, it became refined.

And in fact, it was known and written down by 1941 by a science fiction classic, visionary Robert Heinlein. And he made a whole chart of future history. And then proceeded over a lifetime of writing, almost 50 years, to write the stories in the future history that he put down in 1941 and literally bring it to pass.

At the same time, a young genius named Isaac Asimov going to the same magazine editor by bus because he lived at Far Rockaway, New York, on the Atlantic Coast but would take the bus all the way across Brooklyn, over the bridge into Manhattan, to the offices of Astounding Science Fiction. And the editor, John Campbell Junior, who was assembling a whole bevy of young geniuses. Asimov was still not quite 20 years old when he began. And Campbell said, you have to stop trying to write little, short stories because your whole genius and talent are to be strategic. So, you need to write something large. And so, Asimov, who was indeed brilliant but limited in his education. But understood that well, the biggest thing that we've had was the Roman Empire. And there's a masterful History of the Roman Empire by Edward Gibbon. And the six big, huge volumes.

So young Asimov took to reading chapter by chapter through Gibbon and seeing that there's a future huge empire in the galaxy. And that, oh, it's going to be like Gibbon said, it's going to have its phases. It's going to reach a crescendo. And it's going to reach a crisis because the crescendo is laced with the limitations of a dead form of the past and not the living form of possibility. So, he began writing The Foundation Stories. First one was published 1942, right after Heinlein's future history. It is a history where the Galactic Empire faces a crisis which it cannot avoid, and it's going to fall like Gibbon wrote into a dark Ages. Which the great seer of the Galactic Empire history, who is the height, the first psycho historian to understand all of this. And Hari Seldon understands that it's going to be about 30,000 years of dark age in the galaxy. And that the only thing is, is to posit a exquisite collective as a foundation who will be able to bridge that gap in 1000 years.

Because he understood, Gibbon understood, we can understand, that a millennium is an apocalyptic crisis metronome. Every thousand years seems to be in the time forms of civilization. What in the Midwest they used to call a barn burner. They not only sold the stock, they burnt the burnt down.

So, it is a interesting thing that the periodicity of history extends into the future, into the far future in the science fiction vision. Starting, starting when? Starting in the 1930's. Blossoming in the 1940's. and coming increasingly to an apocalyptic realization that the barn burning end is inevitable end given the structure. Given the pacing. And that the so-called millennium is going to come. And of course, the cursorial crass way of saying, well, it's going to come in the year 2000. YK2. Everything is going to collapse. That, in fact, was the prediction. Every computer is geared to a time form that's going to end. It doesn't have any way to calibrate in YK2. And of course, it doesn't happen.

But what happens is that the emotional psychological impress is that not only doesn't now happen, but it must have happened recently. And so, there's this great growing cloud that, well, it must have happened before, which is almost exactly right. And one finds that one of the origins of a written language that is the forebear of all written languages, including Phoenician, which then found the alphabet to replace the cuneiform writing symbols. And the locust of that was southern Iraq. Which in times, about 4500 years ago, was called Sumer.

One can look at photographs that were broadcast around the planet in 1990, one of the first Gulf War, with 600 oil wells burning and creating a black apocalyptic gloom cloud over the entire area in the Mid-East. And that photograph is taken almost on the site of Ur, one of the earliest great cities of Sumer. It's in black and black and black and white.

One of the great things about time forms of civilization is being able to understand that if you understand what the reference wave pivoted, cued in, as the this is the next reference wave, it's the next step in the comprehensiveness of written language. What then for our particular carrier wave time form was the reference wave about? And one looks to 1650, well, what's going on? What's going on? In China it's the end of the Ming Dynasty where the Manchus came in, as they called it, the Ching Dynasty, the Qing Dynasty. But it was run by Northern Manchus and not by Chinese. The, the wonderful Ming in Chinese. The Ming is the bright, courageous triumph. And it fell with a whimper. And one can look at other places. But one finds an eight-year-old Isaac Newton and a slightly older G.W. Leibniz and those two together mathematics written language. So that we have an integral and a differential calculus by which one can compute infinitesimal differences within a continuum that can be refined indefinitely. Every micro, nano, Pico, themto, atto, into infinity. Differences between zero and one and between one and zero. It's an ambidextrous minus because it's the continuity of number.

And one can run across geniuses in numbers as arithmetic. And the first masterful figure, of course, is Pythagoras in arithmetic. Being able to bring into play that the arithmetic calibration applies to geometry as well. And you can use as a symbol the right triangle. Three points linked by three lines into a triangular form. And the line that is longest will have a square surface in a two-dimensional extension geometrically that equals, like an identity, the other two lines. Those two vectors with this tensor will always have this form anywhere in the universe. You could count on it.

A couple of hundred years later, one of the Pythagoreans named Euclid wrote it out as a textbook which is used yet today, usually in the 10th grade all over the world because. In whatever language. Arithmetic geometric mathematics is actually an arithmetic because the math of it was a hidden quality in the Pythagoreans. The arithmetic, we were able to understand graphically when they were shown by instruction. They were taught this is how it's done. This is what it looks like. This is what it means.

But the possibilities of it, the future. And because it's a continuity, the new past, the refinement of where it came from. That takes a different kind of seeing. It's not perception. It's not conception. It's visioning. And so, the visionaries were called mathematiki. They were able to hear. They were called acousmatiki. They were to hear what the instruction was, but they could envision further applications of that that were never there before but maybe one can find some seeds and put them together in new possibilities of configuration. And it changes the way that the figuration records. And so, the arithmetic and geometry change. But also, one introduces the fact that there are functions of development of process that are now a part of a mathematic that were not there and arithmetic in a geometric. Now you have jazz and blues and rock.

Because if that is the case, then one can understand, not through instruction or even education, but through learning how to appreciate aesthetically and how to understand analytically what time it is in civilization. And thus, one has a prismatic lens by which to understand, ah, this must be a rhythm which is familiar not in the universe, but familiar in the cosmos. Because there must be every civilization that ever develops comes to that mathematiki, which we can call a realization. The appreciation is from a recognition, not a cognition. That's very limited. Instruction is about cognition. Education largely is a reductio absurdity of just you better, this is how it's done. This is where it goes. And this is why this is who you are. It's based on identification and identity, and it's long been appreciated that that really is a deadening process. It's boring. And the more that you are able to inhabit continuity within tensegrities, the more you realize it doesn't go anywhere. It goes exactly where it can go. It can go to its apocalyptic dead-end. Right-on time.

There is no answer to that. But there is a resolution which transforms twice that brings a prismatic person into play who brings a history which is kaleidoscopic into a recalibration so that the science then becomes realizable. One can move from a visionary theoria to a scientific experimentation that shows this possibility is very fruitful. Let's explore it. And let's make the learning have a refinement of inquiry so that we can appreciate and analytically utilize where not where we're at. That's a false present. But who we are going possibly, which is a presence.

The original great achievement in a reference wave is not the development of a written language so much. It's about 4350 B.C. But 2000 years later, in 1000 years, it was complex enough to be able to spawn the beginning structures of very large civilizations. About 3350 B.C. you have the beginnings of what became the Tuftian origins of dynastic Egypt, of the developments of what became in China, The I-Ching, and a whole sense of proportion to cosmology, etc., etc. So that by about 3000 B.C., you had leagues of city states in many places.

But about 1000 years later, 2000 years after 4350, about 2350 B.C., that's when you get a written language that is capable of understanding complexity refined enough to have a poetic. And then one can begin to understand that the architecture that one has had in these civilized structures has evolved, has progressed, to a point of refinement that one can put a written language which is not only poetic, but is differential to any degree that you're capable of refining.

In 2350 B.C. was the first time that the comprehensive written language of ancient Egyptian hieroglyphs was put inside pyramids. Lined on the interior of the pyramids. So that the pyramids, if one went through in that journey of inquiring, exploring, of going through the inner meaning of the pyramid, one could read, if one could understand the hieroglyphics, how one got to the sarcophagus in the main burial room. And in the early Egyptian lineage, the pharaoh at the time. His name in the way it used to be pronounced in Egyptian is, was Unas. Contemporary pronunciations a little bit different, it's Wenus. He built the first pyramid that had hieroglyphics lacing the inside.

And exactly at that time in Sumer now become Akkad. And Enheduanna the daughter of the great founder of the Akkadian dynasty Sargon, was the first great literate writer in history and whose name we know. Whose family we know. And we have her material. She wrote so that one could understand that the ancient told oral Myths of Inanna when they're written, become powerful as a learning journey that is like an inquiry of refinement that leads one to be able to come back not just from a death. Inanna has a journey which takes her...she is very well acquainted with the moon and the upper world. She is very masterful in the world, but she has to encounter the underworld. And in order to do so, she has to divest herself of the archetypal symbols of the very structure of her person. Of her identity. Of her significance. And arrive at the underworld nude, naked, exposed, in danger, and going to be put to death.

This is a translation by Diane Wolkstein and Samuel Noah Kramer of the way in which this was written 4400 years ago. And just the first lines, and then I'll jump to the seven, the set of seven symbols, objects which she must divest herself of, lose on her way down. "From the great above she opened her ear to the great below." From the great above Inanna opened her ear to the great below. And it's repeated three times.

"She gathered together the seven me." In Akkadian me was like the power of these symbols, which we know. Same word, me.
She took them into her hands with the me in her possession. She prepared herself. She placed the shagura (sp?) to the crown of the step of the land. On her head she arranged the dark locks of hair across her forehead. She tied the small lapis beads around her neck. She let the double strand of beads fall to her breasts and wrapped the royal robe around her body. She dobbed her eyes with an ointment called Let Him Come.
Let Him Come, which is the ancient Akkadian, Sumerian kohl. K-o-h-l.

"Inanna set out for the underworld. Ninshubur, her faithful servant, went with her. Inanna spoke to her, saying," and then she descends and has to divest herself, has to lose all of these.

In 2008, just about seven years ago, a woman with a PhD in languages, Cass Douglas, inspired by Enheduanna song to Inanna. Humming the blues. She puts her translation version of Inanna into a blues rhythm that one can read it in that way, in a blues way. And also play instrumental blues to go with it. And that's a 21st century jazz.

We're verging on understanding that we live in a hyper possible creative civilization and have for some long while. And it has reached not a dead end, but a proliferation that makes the previous orders look like a chaos. They look like a chaos because they look like the dead-end significances that have evaporated to a large extent because they just were based upon illusory delusions, fictions, that were purple writing at the best. A new past comes into play, which has a deeper, more refined history. Has more possibility prismatic persons whose visionary scalar is wide open and whose science is whatever it will be.

We're going to take a small break and then come back to this. We're going to come back to a man who was a favorite at the University of California Press. They published a number of his volumes. He was a poet. He was a scholar. He was a raconteur. And he wrote Pacing the Void: T'ang Approaches to the Stars. The way in which the Tang Dynasty poets and seers and visionaries used things like a diagram of the Big Dipper as visionary touchstones of a journey that you could take in other dimensional consciousnesses. And you could acquaint yourself with a real cosmic self that comes back and literally laughs at the false emblems of authority and structure that parade as dynasties, empires, rulers, you name it.

Let's take a break.

END OF SIDE ONE

Let's come back to...let's come back to a blues translation of a short Heimlich poem of Enheduanna in a blues rhythm.
Here and there and I listen to your spells as they blow out of the horrible silence. Over sacred harps as chance shimmers in the moist, warm wind. As possibility stirs human souls and thickens them into the cream of your radiance. Harmony spirals in the air and you wrap its pure spirit in life. Fooled its treasure in your heat. Dress it in your red gown.
4400 years ago.

In Pacing the Void, Tang Dynasty was, is, has always been considered since its heyday the apex of Chinese civilization. The current ruling coterie of China in the 21st century. Some of the major players still have the last name of the Tang Emperors. And who still claim that they're dynastic after all. The founder of the Tang Dynasty Taizong was extraordinary in his strategic acumen. And he understood that you don't initially make yourself the head man. So, he always tendered up his father. I'm doing this as a filial son for my father because he has earned for his family and for the largest family the right to understand and to say how things are going to maintain themselves as the best. In the People's Republic of China, the person who was always put like George Washington at the front was Mao Tse Tung. But as my Chinese mentor called him in a biography of him, China's gray Eminence. Not Louis the 14th but behind the scenes, Cardinal Richelieu, who not only made sure that things are going to work for you, but he trained everybody so that they understood this is how they work. And when it came time for Mao to be replaced, Zhou Enlai took over and completely redid the People's Republic. And when he was old and his time had come, his number one educated learned man, Deng Xiaoping, became the headman and furthered the whole situation.

So that what had been a China that was military run by a general of generals. The only place he had gone outside of China was a brief visit to Moscow to get some things straight with Stalin. Whereas Zhou Enlai had been educated in France. They spoke French perfectly. And Japanese and Chinese. Some English. And Deng Xiaoping saw that we can do better business if we open a market and welcomed in the Americans. Well, sure. Let's see what we can do. We're harmless, we'll just send over some exhibition ping pong players. And, you know, we're just Chinese. And they are. They're dynastic.

And Taizong expanded China for the first time so that it reached all the way into Indochina and all the way across the Gobi Desert into the beginnings of Central Asia and Siberia. Because he understood the camel is not an efficient military beast, but the horse is. And so, the symbol of Tang China is Taizong's horse because he knew. He was educated. Almost 1000 years before him, there had been a general from the West who had stretched his empire all the way into the India that China knew about. And his name was Alexander the Great. Whose black horse Bucephalus was the key to the image symbol significance of his unbeatable authority. And Taizong had such a horse and it's the great symbol of the Tang Dynasty. and in order to maintain it, he did a kind of advanced guard visionary Pony Express. He made sure that every so often there were staging stations that took care of fresh horses by the hundreds across the Gobi Desert and down into the jungles of Indochina. So that you could take a trained army brigade division and you could send them on fresh mounts all the way to where they were needed and extended China to one of the greatest extents in the ancient world.

Later on, somebody about 600 years later, 500 years later named Genghis Khan, said, well, we can do the same thing. Only we don't need staging stations. We will conquer and kill our way. And wherever we happen to be, where we need fresh mounts, we'll just kill everybody and take their mounts. They got all the way into France before they were stopped.

It is a quality of the Tang Dynasty because the founder of Taizong's Chinese name is Li-Shimin, because of the Li family, the Li clan. And he knew that one of his confreres that he, he really liked this, this young poetic boy named Li Po, because Li Po was a special Chinese. He had blue eyes. His mother had Central Asian blood, which was part Greek. In fact, the original translator of Buddhist sutras from the Sanskrit into Chinese was by Kumārajīva who had blue eyes because he his mother was an Indo Buddhist Greek from Gandhari and married a Chinese man. And so, she grew up understanding not only Sanskrit and Chinese, but Greek as well. And was a masterful translator. Lived about 280 years before Taizong. So, he admired Li Po.

But the Li's admired their great traditional ancestor way back when, and his name was Li Ur or better known as Lao Tzu. In Chinese Lao Tzu simply means the wise old one later. Li Ur. So, they made The Tao Te Cheng, the holy sacred visionary center of the way in which a dynastic power would be able to understand Cosmologically, not only everything that counts, but all of the spaces in between and the master infinite space that is real behind all of it.

And so, Pacing the Void: T'ang Approaches to the Stars is how to prepare an intelligent hierarchy of persons who are able to vision their way into this scalar of anything goes for us. Ed Schafer, Edward Schaefer's translation, he writes in here. "It seems before Tang times in the Mao Shan tradition requires that the adept repose himself at night on a diagram of the dipper," the Big Dipper, "laid out on his bed."

Mao Shan is the center of classical Daoism. Mao Shan is a very huge, mysterious mountain that is outside to the south of Nanjing, which many times 1000 years' worth was the capital of China. And my mentor was born in Nanjing. Master Ni, who came to Los Angeles a generation or so ago from Nanjing. And family was 76th generation of the Mao dynasty. That lineage.

So, the adept positions himself not to dream, but to vision at night on his bed.
On a diagram of the dipper laid out on his bed with its bowl like canopy over its head. Over his head. And his hands and feet pointed at major stars. He is to recite the names of its stars, picture them in his imagination, recite prayers, and in the end bring their sublime embryonic essences into his body. Where they build up, in the course of time, the accumulation of penetration of wisdom learning to go beyond what patterns there had been into realms of what they might become. An Immortal Body, which will ascend to heaven in broad daylight in the course of time will occur. There were still other techniques. So, in the end it was within the bony planetarium of the skull that the divine Asterisms are spread identical through a kind of supernatural type topology.
A mathematic.

In the beginning, volumes of what now is over 20 volumes of Science and Civilization in China, Joseph Needham, and his Chinese co-authors Wang Yang, and eventually the woman who was Chinese woman who was with him all during this, who became his wife. Needham points out that the Daoist monasteries developed calculus in the 800's A.D. 800 years before the West. But they used it as a training into differential consciousness and not as a development of the mathematic and its applicability in a scientific way. But its development in not a psychic, but an extension of conscious dimensioning that transcended history so that they didn't get the history. And thus, the science didn't occur. They went as far as they could with visioning. Invented not only gunpowder, etc., etc., but they invented printing. The first printed book and the world on the planet was The Diamond Sutra. And it was printed by woodblock cutting out of the characters about the 890's A.D.

Why The Diamond Sutra? Because it is the jeweled person who learns how to learn. Who is able to recut facets of themselves so that they're not just that wonderful prismatic person, but with added facets. And learning how to learn to learn can handle the cutting of the facets and become a jewel person. So that the universe is no longer a uni-verse but as the phrase translated into English goes, it becomes a jewel matrix cosmos. Now you can go anywhere, any way that you want. Any time that you want. As long as the learning is passed on in its creative way.

The great challenge came around 1650 because about that time the Jesuit order was able to reach China and to understand that these brilliant people, this amazing splendor, doesn't have any real science and systematic development. Because their history all is like these lineages that are largely oral missing stuff. And we have a much more powerful doctrine than they do. And we understand that there's an application to things. And so, they began to see that the Ming Dynasty, while it was splendiferous, is sitting duck. And they conspired to have the powerful northern semi–Siberian Chinese, the Manchus, come in and infiltrate. And they took over almost by default. Because the Ming ruling class was so busy being splendiferous, they didn't realize that these guys are here to take it all away. And to open up, we're not going to just have a couple of assignments for just this religious order, these guys. We're going to have special treaty ports that allow us to bring in different, larger groups who are in business, not to spread doctrine, but to make money, because we understand that we'd like to make some money. And if we bring them in there, we'll learn how to do that. And pretty soon we'll have treaty ports where they are, and we'll do the business. Now you have 2015 China. That was begun in the late 1600's. With some hiccups. Not too many now.

The, one of the pages shows the Chinese diagram with its labeling of the Big Dipper. So that one can take oneself off the bed, off the personal visioning at night, off the skull that has its planetarium out into the actual night sky. And the training all of a sudden becomes recognizable that so our understanding is that these stars are actually jewel matrixes of personality that are conscious like we are becoming. And we can tune to them. And they can tune to us. And we can do business on a scale that makes armies look paltry. There are just toys on a board. It's just a go game. Putting where the cross hatches of the lines are these white stones or these black stones to surround each other. And whoever gets the most stones surrounded wins the game of go, which is Mao Tse Tung's philosophy. Whereas Zhou Enlai's was, let's learn how to learn and teach learning. So that it is able to accumulate for a couple of three, four generations. Whatever it takes to emerge free of all of the encumbrances of game strategies into a recognition that is realizable, that our movements choreograph what is happening in the best of all possible possibilities.

So that one doesn't hear in 2015 arrogance. Another Li is there. Li Kyung Kyung. And he is the president of China. Not like Ji, the big head. He's just is like a flag that can be waved. Li Kyung Kyung is extremely articulate in many languages, English included.

When the Yangtze River boat accident happened a few days ago and almost 450 people were killed on the Yangtze River, a tour ship. That's one of the pride basis of tourism in China. He went personally there in shirtsleeves. Rolled up. Filmed helping. We have to help not only these people, but we have to help those who are stunned by this. We have to help those bodies out and take care of them with honor. We have to help show the world that we care. Not at the top, but from the very heart of our competence without shouting it.

So that we have a 21st century which is challenging. "Without learning, without vision," Saint John wrote, "the people perish." Anything automatic runs down. Anything mechanical develops glitches. Any complexity that is force fed an overload of information, etc. anything will collapse of its own imbecility.

When the, the differential machine that was built by John von Neumann and run by mechanical multiplicity of rods and yeses and nos and zeros and ones all over the place. When it was replaced by ENIAC, the first electronic computer. The speed so outdistanced the mechanical even on a complex refined almost super switched...Swiss watch way, the electronic connections ballooned the capacity so that early computers that were room size began to develop bug lists. And the more complex that you used, whatever script language you were using, the bug list would grow. And also, the limitations would begin to become apparent.
One of the early punch cartoons in Britain in the early fifties was two guys in white coats in front of the tape that would come out and the wall of computer. Well, what did it say? It said, don't ask. I'm old enough to remember going into the computer works of Wells Fargo in San Francisco in the early 1960's, about early 64. And it was a dirty place because the punch cards going so fast through left little flecks of, of stuff and computer rooms were, were a hazard. It was, it was like unbreathable neutrinos everywhere, these little bits and pieces and flecks. A fine computer dust that would begin to choke you.

The supercomputers now are able to calculate scores of billions. Of quadrillions. Of flops every second. And our doubling so that a very large supercomputer now in about five years will seem like a desk toy.

The bug list is not in the computers anymore. Computer language has families of it have become sophisticated. The bug list is in the operators. They know more and more about exactly that and less and less about any kind of a context in which it is operable. Much less recognizable. Much less real.

More next week.

END OF RECORDING