Die Gründe der Temperaturanomalien des vergangenen Jahres und auch des vergangenen Februars sind nach wie vor klimawissenschaftlich nicht geklärt. Die Temperatursteigerung blieb auch angesichts Treibhausgasgehalts der Atmosphäre und des inzwischen abklingenden El Niño innerhalb des Bereichs der Vorhersagen, aber ihr Tempo war statistisch gesehen extrem unwahrscheinlich. Der Guardian-Artikel enthält Statements mehrerer Klimaforschender dazu. https://www.theguardian.com/science/2024/mar/16/scientists-divided-record-heat-acceleration-climate-crisis

Seit dem 7. März 2022 – seit genau einem Jahr – werden an über der Oberfläche des Nordatlantik Rekordtemperaturen gemessen, seit dem 14. März über den Weltmeeren insgesamt. Auch der Standard-Artikel geht auf verschiedene Erklärungsversuche (u.a. weniger Schiffsemissionen, El Niño, Vulkanausbruch) ein, die aber nicht ausreichen, um das Ausmaß der Anomalie zu verstehen. Der Meeresspiegel steigt derzeit auch wegen der Ausdehnung durch Erwärmung um 5 cm pro Jahrzehnt. https://www.derstandard.at/story/3000000210458/weltmeere-verzeichnen-au223ergew246hnliche-w228rmerekorde

Chart bei Climate Reananalyzer: https://climatereanalyzer.org/clim/sst_monthly/

Das Tempo der Temperaturerhöhung an der Oberfläche der Ozeane ist auch für erfahrene Forschende schockierend. Besonders hoch ist es im Nordatlantik, dessen Erwärmung zu schwereren Hurricans führen könnte. Aber auch der Südatlantik und damit das antarktische Meereis sind betroffen. Die Ursachen sind nicht geklärt; das El Niño-Phänomen reicht zur Erklärung nicht aus. Es könnten Feedback-Mechanismen eine Rolle spielen. Die New York Times hat mehrere Wissenschaftler befragt.

https://www.nytimes.com/2024/02/27/climate/scientists-are-freaking-out-about-ocean-temperatures.html

Infografik: https://static01.nyt.com/images/2024/02/07/multimedia/27cli-newsletter-02/2024-02-07-sst-hottest-january-index-superJumbo-v2.png?quality=75&auto=webp

Der Bericht des Copernikus Climate Change Service über 2023 ist lact Direktor Carlo Buontempo "ein dramatisches Zeugnis dafür, wie weit weil wir uns von dem Klima entfernt haben, in dem sich die menschliche Zivilisation entwickelt hat". Viele Kimaforschende waren davon überrascht, wie deutlich die Temperaturrekorde des Jahres 2023 über denen der vorangegangenen Jahre lagen.Auch Zahl und Ausmaß von Extremwetterereignissen übertrafen die Erwartungen. https://www.theguardian.com/environment/2024/jan/09/2023-record-world-hottest-climate-fossil-fuel

Mehr zu den Copernicus-Daten für 2023: https://hypothes.is/search?q=tag%3A%22Global%20Climate%20Highlights%202023%22

MESON is comprised in part of card index collections of chess problems and puzzles.

http://www.bstephen.me.uk/meson/meson.pl?opt=top MESON Chess Problem Database

Compiled using a variety of sources including card indexes.

found via

As for the Pirnie collection, not counted it, but I am slowly going through it for my online #ChessProblem database: https://t.co/eTDrPnX09b . Also going through several boxes of the White-Hume Collection which I have.

— Brian Stephenson (@bstephen2) August 5, 2020

https://twitter.com/bstephen2/status/1290926377148076033

In den USA wurde in Anwesenheit des Energieministers, die erste große kommerzielle Fabrik zur Direct Air Capture also der direkten Entnahmevon CO2 aus der Atmosphäre, eröffnet. Die Biden-Administration fördert diese Technologie mit enorm hohen Beträgen. Die Kosten für den Entzug einer Tonne CO2 aus der Atmosphäre in der neuen Anlage werden auf 600 bis 1000 Dollar geschätzt https://www.nytimes.com/2023/11/09/climate/direct-air-capture-carbon.html

Merchant, Brian. Blood in the Machine: The Origins of the Rebellion Against Big Tech, 2021. https://www.hachettebookgroup.com/titles/brian-merchant/blood-in-the-machine/9780316487740/.

Is this the same/similar to the (now missing) interview on YouTube (https://www.youtube.com/watch?v=2ueMHkGljK0)?

See notes at: https://hypothes.is/a/NhpRyjhEEe2Yu8s-XRsrrQ

compare with https://londonreal.tv/robert-greene-power-seduction-war/# which looks like the embedded video is also missing.

https://MarkNoble.com

Die Anzahl tropischer Stürme, die sich schnell intensivieren, bevor sie das Land erreichen, hat sich in den letzten 40 Jahren verdreifacht. Der Hurrikan Itdlia hat möglicherweise am schnellsten von allen bisher bekannten Stürmen verstärkt, weil er seine Energie aus extrem warmem Wasser bezieht. Diese Verstärkung lässt sich der globalen Erhitzung zu schreiben, auch wenn die Zahl der Stürme durch sie nicht zunimmt. https://phys.org/news/2023-08-idalia-potent-intensely-rocket-fuel.html?utm_source=nwletter&utm_medium=email&utm_campaign=daily-nwletter via La Repubblica

• for: progress trap, quote, quote - progress trap, quote Brian Southwell, Science in the Public Sphere Program, RTI International

• quote

  • We are likely to make some gains in personal health, are likely to face some collective concerns in terms of environmental health and
  • are not likely to cope with the alienation and despair that is a part of a life lived largely online.
  • In the latter case, there is a disconnect between the long period of evolution that honed our humanity and
  • the short period of rapid technology change we are facing.

• author: Brian Southwell

  • director, Science in the Public Sphere Program, RTI International

• for: TPF, cosmolocal, community as building block, city as building block, W2W, quote, quote - Brian Wong, citizen assemblies, bottom-up strategy
• paraphrase
• quote
  • the victims that suffer under over consumption over depletion and environmental degradation don't really have a say
  • so we want a fair World
  • At Large we need to start with Fair countries
    • and with Fair countries the prerequisite is
    • fair cities
  • what's needed here too is direct mechanisms by which
    • the people can have their voices heard
    • can hold Elites accountable and
    • fundamentally have an opportunity to partake in the designing of
      • the rules of the institutions and
      • of the outlying sort of overarching structures of their cities and therefore
    • we move from cities to countries and
    • from countries to the World At Large

• for: gene culture coevolution, carrying capacity, unsustainability, overshoot, cultural evolution, progress trap

• Title: The genetic and cultural evolution of unsustainability

• Author: Brian F. Snyder

• Abstract

• Summary
• Paraphrase
  • Anthropogenic changes are accelerating and threaten the future of life on earth.
  • While the proximate mechanisms of these anthropogenic changes are well studied
    • climate change,
    • biodiversity loss,
    • population growth
  • the evolutionary causality of these anthropogenic changes have been largely ignored.
  • Anthroecological theory (AET) proposes that the ultimate cause of anthropogenic environmental change is
    • multi-level selection for niche construction and ecosystem engineering.
  • Here, we integrate this theory with
    • Lotka’s Maximum Power Principle
  • and propose a model linking
    • energy extraction from the environment with
    • genetic, technological and cultural evolution
  • to increase human ecosystem carrying capacity.
  • Carrying capacity is partially determined by energetic factors such as
    • the net energy a population can acquire from its environment and
    • the efficiency of conversion from energy input to offspring output.
  • These factors are under Darwinian genetic selection
  • in all species,
  • but in humans, they are also determined by
    • technology and
    • culture.
  • If there is genetic or non-genetic heritable variation in
    • the ability of an individual or social group
  • to increase its carrying capacity,
  • then we hypothesize that - selection or cultural evolution will act - to increase carrying capacity.
  • Furthermore, if this evolution of carrying capacity occurs - faster than the biotic components of the ecological system can respond via their own evolution,
    • then we hypothesize that unsustainable ecological changes will result.

• Source
  • Big Think interview
• Book Title
  • Corruptible: Who Gets Power and How it Changes Us
• Book Author
  • Brian Klaas

Der Nordwesten der USA ist von einer Serie von Überflutungen nach starken Regenfällen betroffen. Gleichzeitig werden für verschiedene Teile der USA Hitzewellen vorausgesagt https://www.theguardian.com/us-news/2023/jul/10/us-weather-floods-heatwave-climate-crisis-alerts

Die Beschlüsse der Konferenz der Welt-Schifffahrtsorganisation MPI zur Dekarbonisierung der Schifffahrt genügen nicht, um die Ziele des Pariser Abkommens zu erreichen. Man will die Emissionen bis 2030 um mindestens 20% reduzieren und „um 2050" emissionsfrei sein. Ein Beschluss zu einer Abgabe –zur Finanzierung der Dekarbonisierung armer Länder – wurde aufgeschoben.

https://www.theguardian.com/environment/2023/jul/07/shipping-emissions-levy-delayed-but-goals-for-greenhouse-gas-cuts-agreed

Mehr zu der Konferenz zur Dekarbonisierung der Schifffahrt: https://hypothes.is/search?q=tag%3A%22event%3A%20MEPC%2080%22

Logging some keywords here for later cross referencing.

https://s3.amazonaws.com/plan9-bell-labs/7thEdMan/index.html<br /> Unix Seventh Edition Manual

<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>Brandon Rhodes</span> in Semantic Linefeeds (<time class='dt-published'>12/27/2022 11:35:19</time>)</cite></small>

—Brian W. Kernighan, 1974 “UNIX for Beginners” [PDF] as Bell Labs Technical Memorandum 74-1273-18 on 29 October 1974.

For easier editing and reuse of sentences, or even portions of lines of text, one can (and should) write sentences or sentence fragments on their own lines in digital contexts.

This way future edits or the ability to more easily cut and paste will far easier in addition to keeping your version control files simpler and easier to read and visually track your changes. (That is in many version control systems, instead of a change appearing to affect an entire paragraph, it will only show on the single line that was changed thereby making the change easier to see.)

This particular affordance may be a particularly useful one for note takers who expect to regularly reuse their notes in other contexts. Many forms of software (including Tex, LaTeX, and even markdown) will autowrap newlines so that a sentence broken up into clauses on multiple lines will properly wrap back into a proper looking single line when printed. Take care that in many Markdown versions adding two spaces at the end of a line will automatically create a newline in your text.

!- Title : Storytelling Will Save the Earth Emotional resonance, not cold statistics, will bring home the scale of the climate crisis—and the need for action. - See related story: Brian Eno – "We need the creative industry to help inspire climate action" https://hyp.is/go?url=https%3A%2F%2Fwww.imperial.ac.uk%2Fnews%2F241832%2Fbrian-eno-we-need-creative-industry%2F&group=world

!- Title : Brian Eno – "We need the creative industry to help inspire climate action"

https://logseq.bmannconsulting.com/

https://www.newyorker.com/magazine/2014/07/07/ambient-genius

It's not stated in the piece, but there's a hint of Brian Eno as a lone genius within music, but the piece explicitly explores his own creative practices and collaborations which go toward creating his creativity and genius by way of his path through music.

Example of Brian Eno using ITunes as a digital music zettelkasten. He's got 2,800 pieces of unreleased music which he plays on random shuffle for serendipity, memory, and potential creativity. The experience seems to be a musical one which parallels Luhmann's ideas of serendipity and discovery with the ghost in the machine or the conversation partner he describes in his zettelkasten practice.

Example of Brian Eno using combinatorial creativity using cards to generate music.

This sounds similar to a process used by Austin Kleon which I've noted before.

ways to link this to oral traditions in music and memory?!?

Brian Eno had a notebook-based practice of some sort.

We should do better at teaching and training creative behavior in schools. We say that we encourage exploration but somehow do it in all the wrong ways such we discourage it wholly.

"process not product"

Zettelkasten-based note taking methods, and particularly that followed by Luhmann, seem to focus on process and not product.

http://stoney.sb.org/eno/oblique.html

Digital version similar to WTFEngine.

https://www.oblique-strategies.com/

A web-based version similar to WTFEngine.

https://www.youtube.com/watch?v=cv7epY75Wa0

https://www.enoshop.co.uk/product/oblique-strategies?filter=Oblique%20Strategies

https://www.youtube.com/watch?v=pRc7MUybCsE

Interview with BBC in which Brian Eno discusses the origin of his Oblique Strategies with Peter Schmidt.

Changing the order in which you do things. —Brian Eno, Oblique Strategies

This sounds like the sort of shift Walter Murch made in his sound editing by doing his first cut completely without sound. If you can't tell the story visually without sound the whole thing will fall apart. But you can use the sound, music, etc. to supplement, gild, and improve a picture.

https://www.openculture.com/2013/07/jump_start_your_creative_process_with_brian_eno_oblique_strategies.html

http://www.rtqe.net/ObliqueStrategies/OSintro.html

https://en.wikipedia.org/wiki/Oblique_Strategies

So much to unpack here.

Similar to experiments I've seen by Henry James Korn (esp. The Pontoon Manifesto), John Irwin, etc.

Similarities to means of forcing Llullan combinatorial creativity, but in alternate form.

https://en.wikipedia.org/wiki/Brian_Eno

Brian Eno's experiments in generative music mirror some of the ideas of generative and experimental fiction which had been in the zeitgeist and developing for a while.

Certainly the fictional ideas were influential to the zeitgeist here, but the technology for doing these sorts of things in the musical realm lagged the ability to do them in the word realm.

We're just starting to see some of these sorts of experimental things in the film space and with artificial intelligence they're becoming much easier to do in all of these media spaces.

In some of the film spaces, they exist, but may tend to be short in nature, in part given the technology and processing power required.

see also: Deepfake TikTok of Keanu Reeves which I've recently run across (algorithmically) on Instagram: https://www.dailydot.com/debug/unreal-keanu-reeves-ai-deepfake/

Had anyone been working on generative art? Marcel Duchamp, et al? Some children's toys can mechanically create generative art which can be subtly modified by the children using axes of color, form, etc. Etch-a-sketch, kaleidoscopes, doodling robots (eg: https://www.amazon.com/4M-Doodling-Robot-Packaging-Vary/dp/B002EWWW9O).

One moment this article describes Eno as eschewing conventional jobs, but then describes him going back to two different ones. The second one as an electronics dealer is at least tangential to his music/sound career and may have helped give him some tools for operating in the space which he wanted to be.

I personally did something akin to this when I was a child sometime between 9 and 12 with our family tape recorder. Did I do so because it was simply a creativity tool, which is generally how I used it, in my environment, or had Brian Eno and others' influences seeped into the culture encouraging this? Where does zeitgeist start and stop?

Book Source: Eno, Brian. A Year With Swollen Appendices: Brian Eno’s Diary. 1st edition. London: Faber & Faber, 1996. Section: A Letter to Dave Stewart, p 354

Cross reference quote and further usage/refinement of the word from popular blog post by Kevin Kelly Scenius, or Communal Genius: https://hypothes.is/a/SgYqomnBEe2_Yaf4i1JnCg

https://kk.org/thetechnium/scenius-or-comm/

Definition of scenius, a portmanteau of scene and genius, meaning roughly the output of combining the ideas of zeitgeist with combinatorial creativity to create sustained output which might be considered genius level work.

Generally it gives more credit to the people and time than is generally seen in other instances which are often frame as lone genius.

My definition may be more complex and nuanced than that of the version coined (?) by Brian Eno.

https://briansunter.com/graph/#/page/logseq-social

Brian Sunter (twitter) using Logseq as a social network platform.

What simple standards exist here? Could this more broadly and potentially be used to connect personal wikis, digital gardens, zettelkasten, etc?

Note that in this thread Dave Winer asks about how it can be tied into other standardized pieces to interconnect?

How can I hook my outlines into your net if I’m not running Logseq?

— dave.rss (@davewiner) June 13, 2022

https://www.linkedin.com/pulse/engage-brain-never-gonna-popular-call-action-brian-jenner/

<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>Boaz Barak</span> in Brian Conrad takes down the CMF – Windows On Theory (<time class='dt-published'>06/01/2022 21:35:06</time>)</cite></small>

https://windowsontheory.org/2022/05/02/brian-conrad-takes-down-the-cmf/

https://deadline.com/2022/01/brian-cox-succession-donald-trump-memoir-interview-johnny-depp-jeremy-strong-politics-1234913875/

Wish the interviewer could have gotten more out of Cox here. Sad that there's a book's worth of material and most of the text is the interviewer's questions which at best tease the book.

This particular line resonates with what happens in Crypto-land, I think. For a couple of reasons: Crypto-land itself is largely constituted of online interactions. Secondly, crypto-land is nothing if not overflowing with a “surplus of emotionality”. Perhaps this is why we see an overlap of communities interested in Trumpian politics and ideas, and cryptocurrencies. They might be interested or attracted to the same thing: how these subjects make them feel.

🔗 Brian Massumi has much to say about politics and affect. His idea is that the pre-emptive policies of post-9/11 counter-terrorism creates an atmosphere of “low-lying fear”—an affect of terror.

Brian Gallegos (test note)

mural-tastic