Yes, I’m partaking of a cliche, at best a trope, but let me pause and ask the obvious: why don’t we pay ourselves to act the parts? Some of us get the adoration of others, because we’re privileged and beautiful. Some of us are stars. But what about paying the extras?
In the Great Democracy (a vision in progress), I’m empowered to be a star in my little pond, or maybe not so little, however I have the humility, and the curiosity, to also play an extra in big extravaganza productions wherein I’m hardly a star. I’m just doing my part, perhaps not saying a word.
GST (general systems theory) credits solar fusion for the steady stream of harvestable energy resources flowing our way, but admits the sheer presence of energy is not enough to ensure any Garden of Eden.
Humans have the role of sustaining their Eden, for better or worse, and we ought not begrudge them their pay. Anyone on the brink of starvation, for example, is lowering average living standards. Those are your living standards, and mine. Shouldn’t enough of that sunlight reach every account holder to at least keep them in the game, and shouldn’t that account be their birthright?
I know, I know, we’re back to science fiction. Our pretense for centuries has been that our political leaders are also the source of our collective wealth, or something to that effect.
However now, looking back over world history, we have more perspective and see the vast number of unsung innovators who have worked hard to improve our collective lot. Some perform as lab technicians. Some write articles. Some teach. Some drive trucks. These are the actors, performing their roles. Simply living, one day to the next, is expending energy, and that’s work.
Actors go from role to role. Being authentic, not an imposter, in one’s role, may take some serious training and working out. Not everyone is cut out for every role. Making sure people get opportunities to retrain, try out, learn new ropes, is best not perceived as an afterthought. Anyone in public service will likely need to be thinking in terms of a safety net. Risk management is the new kid on the block, as people jump from role to role.
However let’s move the goal posts and define negative work. If we define conscious work as towards some goal, with a purpose, then we’re better equipped to identify work with destructive intentions. Does this evil genius intend to unleash some diabolical plan against the masses? These geniuses come along rather often, perhaps too often, and sometimes don’t see the issues the same way others do.
We need to “test their leadings” as the Quakers say, and stop the ones that need stopping. Some will revector on their own, in the presence of feedback.
The movie making industry should be thrilled by this vision of its bright future, as we move to more fully document our lives, our experiments.
We’ll be paying (channeling energy towards) star test pilots, extras, and all manner of crew, to plan out their chosen scenarios, and make them happen.
We’ve been doing these steps with our big invasions, so cinematic.
However, the idea of “a production” easily generalizes, from R&D communities in the Arctic (e.g. digging the world’s deepest hole), to cruise ships repurposed to transport refugees.
All of these adventurelands require star talent.
Westworld, the movie and TV series, got a lot right in terms of suggesting a subterranean underworld of controlling caverns. This archetype arises often, as in the movie Cabin in the Woods.
When intelligent action, coordinating the work of many, materializes out of chaos, there’s a tendency to believe in an evil genius behind it all. Or perhaps the controlling cabal is benign?
My purpose is to draw attention to the need for planning, couched in the form of storyboards and scripts, and pitched to producers who know how to recruit, should the green light be given.
Refugee Science doesn’t start with a blank slate or empty canvas. We start with the inertia of existing trends, and a vista of many cities, some growing, some destroyed. As movies, with this level of drama and resources involved, we could see these epic sagas for what they are: big budget blockbuster extravaganzas. Lots of work.
As an unwelcome reality, the same destructive drama, the war theater, is sometimes no one’s production, and following no one’s script, unless and until we reach some sense of agreement, regarding the scenarios we want to star in. Perhaps we’d prefer to experiment living in remote ecovillages, under domes to protect us from mosquitos. We grow food. We make music. We study bugs. We thank the sun and our program planners, for committing both energy and inventory to our at least temporary lifestyles.