BEAMING REGEN~ERA EPISODE 4 on March 24th 2021

Or not my thing. To update, yeah, update the audience and posterity, which is the nice thing about this experiment is that we're always on recording and video and we can watch these things again and edit them and have a good time. So welcome, world.

Beautiful. Amazing. Do you want to set a bit of context maybe? I'll go for that as we have Gisela joining us on the call. So for all of you that are repeat watchers of Beaming Regen Era, you know what Regen Era stands for. You, you probably met the Design Science Studio at this point. And if you're tuning in for the first time, maybe just a little bit of context. The Design Science Studio is a developmental incubator for art inspiring a regenerative future that works for 100% of life, all all of life, because it's either everyone or no one. And so this program is kind of the synthesis of an 8-month incubator that so many of us that are going to be present in this call and this broadcast today were part of for the last 8 months. And actually, it's also a call to participation for all of you checking in and tuning in, because this is a 10-year, one-decade-long incubator hosted by the Buckminster Fuller Institute, by Hab Ritual, and it's called the Design Science Studio. So you can type that into your browser as well, designscience.studio. Check it out, a developmental incubator for art. And Beaming Region Era, which is the name of this program, is like what Bret just said. It's a, you know, kind of future backcasting. We're already in the position of having lived through this incredible decade with each other, and we're backcasting from that place of understanding What's happening in the 2020s to make this the most regenerative time in the planet's history? And today we're gonna, as far as I'm informed, kick off with Lua and Gisela to share a bit of, you know, I think a poem. Bret, is that right?

Yeah, yeah. So we have artists, we've had artists join us all week doing live art and poetry and music. So today One of my friends Lua has invited her grandmother, I believe, to come and share a poem, a sort of opening invocation. I feel like, you know, we're gonna kind of set the stage with this wonderful woman sharing some of her art, and I believe she's going to do it in Portuguese as well, which is amazing. So we'll get to hear another language, and Lua will translate for us. So Lua, just take it from here if you want to introduce yourself. There he goes.

Muito obrigada. This is my grandmother Donata. She's using my mother's phone. Gisela is my mother, and I think Donata has translated the poem, one of poem in English. And I will be saying a second poem about the Regen era that she also wrote. So, vovó, você quer começar? Tem que desmutar. Você tá muted. Tem um botãozinho, tem que apertar. You're still muted. Tem que unmute. Embaixo do telefone vai ter um botão que fala mute.

Okay, I'm sorry. I'm no used to do dois cengues, and I'm here because Grandora asked for. And I love her so much, I cannot say no. But I'm going to say something in English, and sorry because my English is not too good. Maybe it looks like Russian or German, but it's English, okay? Um, I wrote something another day here in Timbuktu. It was one day was snowing too much, and I said, it's no day when I wake up, I look out to the window, and the beautiful landscape and the figure of my mother appear in my mind. My mother had a very poetic, unusual way to raising children. For example, when it downed raining, she used to say, today this crying, it must be sad because there are a lot of disobedient children out there. And I, in my naive innocence of a girl of 5, 6 years old, I thought, Well, I'm going to be good for the, for the sky to stop crying. Now, at age of 80, watching the rainfall in form of the snow and turning to hardening ice, I conclude that it must have many cold and hardening hearts, because even the tears in the sky Fall cold and hard on the floor. To alleviate this negative thought a little bit, I think, what a beautiful landscape formed by the frozen tears of the sky. And I want to believe that just as the ice will melt with the increase of the heat, the human being coldness Will also dissolve with the flame of the love of God. Anybody understand what I said? Okay, thanks so much. If I have one thing here, the assurance that the serenity always calms down the agitation. Is that the ocean arrives revolt and wide, but it dies in the sand serene worms. I'm done.

Thank you.

Thank you. Thank you so much.

Thank you.

Oh, okay.

Luan, I translated.

Yep, go ahead.

I translated one more poem from my grandma, and this one is special for the Regen era with a different name. Observing the colorful butterflies flying from flower to flower, we admire how the caterpillar that transformed itself Could originate this such beautiful beings. This era that is arriving on our planet passes through a period of isolation, transformation, and hurt.

COVID-19.

And it is like the Earth is having pains from labor. So at the end, we conceive a new era that we wish. We will call it the Era of Love. I'm done.

Thank you. Thank you both.

Thank you.

The Era of Love. What's, what's, what's better than that to kick off the next couple hours of chilling out together and celebrating this decade, the Soaring '20s, where we are reborn, so to say, as that butterfly, and we do embody this era of love? Thank you so much, ladies, for bringing the poetry and the good words to the beginning of this broadcast and setting the tone. I'm going to remember that, that final statement of the era of love, and I'm feeling really excited. Um, Julian, by the way, in the next hour we're going to have some of the cohort members here. We're going to have an interview with Ruta. We're going to have some more poetry from X and a couple other people. In about 20 minutes, I have a friend of mine, Alex, stopping by who's just kicking off a new podcast. So we're going to have him just share briefly all about that and give him some air to share his excitement for that. And I did a podcast with him, so we'll play a little 1-minute montage that he created, beautiful graphic he created. So it's the era of love. I'm super excited. Julian, how are you feeling so far? week of all the things going on. I am so psyched up, I couldn't be more energized and optimistic if somebody tried to make me that. There's nothing anybody can do or say that could really bring me down.

I think this is a really, really great segue you just set me up with. This week, there's a lot going on on different platforms. There's an Art World, a New Art City, a Topia World. There are It feels like 1,111 Zoom rooms with amazing events and workshops and hangout spaces like this. There's a bit of magic happening on Clubhouse every day. There are lots of one-on-one connections between people that are meeting or serendipitously meeting in Topia. And so I think what I'm gonna echo what you just said, Bret, is— Bret Minster. As I want to call you this week specifically. What I want to echo is that there is a general feeling of faith, hope, trust, and just like, you know, this energy of like, wow, humans are awesome. And when humans help humans, magic happens. That feeling is very alive for me. And it's very alive for me in the whole context of the Design Science Studio. And, you know, honestly, I'm going to out myself and admit, There are many moments within the design science studio where I'm like, well, this is really chaotic and this is really kind of a big shit show in a positive sense. I don't know if you could interpret that word in a positive sense, but so I think that's part of what I'm actually enjoying about it is to understand that this chaos is a big part of what comes later in coherence and harmony. It's to allow for chaos. It's to allow everyone to be themselves. It's to encourage and empower everyone to fully step into the unique gift. That's very inherent in the regenerative principle of life. And so we as humans might not be used to that with each other. And so in this DSS week, in this Regen Era launch week, I feel like there's a common red thread of a lot of that chaotic kind of convergence happening, which in itself is just beautiful because that allows for so many different ways of being, living, doing, impacting, creating, making art, you know, letting it, letting it rip and sharing with the That's what makes it possible, and I think I always I always come back to faith and hope. So I feel hopeful quite a bit for this planet. But you know, to upgrade hope into trust, it takes groups like this for me to realize this is not just in my head. It's not just that my head believes in a planet that works for everyone, and somehow I'm like I'm very misinformed. There's actually like a lot of people out there. Doing and creating and showing up. And last point on this little rant here, for every single person that you see in a workshop, in a Zoom room, painting live on a broadcast on Facebook or anywhere else, there's at least 10 other people just sitting and watching. And they're already allies. Those are the people we want to empower and encourage to step forward to partake more. But there's at least 10 per person who are on the sidelines and they're like, I'm kind of ready too. I feel this is real. And so it makes me not just hopeful, but it allows me to have trust that despite all of our differences, you know, in fact, because of all of our differences, we get to celebrate who we are as humans. And as we celebrate who we truly are, we come into more and more harmony, not from one day over to the next, but into more and more increasing states of harmonic resonance with the natural world and therefore You know, we kind of fulfill our destiny in this, in the, yeah.

Thank you, Julian. I'm just gonna take off on that. You know, for the last 8 years, on a personal note, I've been involved in a project that has really been what I call doing research design development and embodiment of co-creation, of what it means to co-create, of what conscious evolution might mean. And we traveled the planet and we've spent time with people of all kinds, young and old, grassroots, unknown, some famous, really like feeling this journey out. We spent some time with a woman named Barbara Marks Hubbard who passed away last year. She was a pioneer of co-creation and conscious evolution, really, and The tipping point, you know, what's almost the difference between collaboration, so to say, and co-creation revolves around this chaos that you're talking about. This— some people would use the term the feminine, the wildness, the emergence. And without being able to live and breathe and relax into the uncertainty, and what feels like chaos, you don't get to have the icing on the cake, which, which is emergence and the cultivation of trust and resonance, and to have this greater whole that is the sum of its part. It takes time for something like that to emerge, and what a lot of us are learning is that level of divine patience and discomfort And a lot of us are not used to that. A lot of us might have worked in corporations or the business world or athletics. It really doesn't matter. The world as we've known it has been very oriented in producing things and speeding up and a lot of other adjectives and qualities that are really the antithesis of the spirit of regenerative Actions and things like homeostasis and balance and well-being and this, this beautiful, beautiful thing called chaos, which is simply the time in between what we, what we know and then what we don't know and what we know again. So reframing that is wonderful. And I have to say, as a, as a flourishing expert, I may be On co-creation, this is for sure something that's real and something that we're all learning how to live with that uncertainty and chaos. And so for me, it's been not much of a— hasn't thrown me much. And I'm looking forward to coming into that deeper levels of harmony and coherence. And I've seen a lot of things that I think I and others will be able to bring into the space as we iterate. this design science studio, and we can actually optimize some of our behaviors and how we go about doing things. And the final note is for everyone out there listening, if you checked out the links and you like what you've seen, the cohort is going to repeat every year. This is actually a 10-year project. It's based on the idea of Buckminster Fuller's Design Science Decade, which has these 2-year iterations. So, this RegenEra is actually a 10-year project. So, we're, as Julian said, we're in it to win it, so to say. We're not going anywhere, and this is really only beginning. So we really encourage people to really look into this Design Science Studio, and if it's something that lights you up like it lights me and Julian up, sign up for the next cohort and join the family and help us create that renaissance.

I love that you're closing it on a call to participation. This is really ongoingly number one. More the more people participate, the more beauty of humanity is going to show up. Lua, are you still with us?

Are you?

Did you switch to drawing yourself? Curious to hear more from you.

Oh, there we go.

Yes, I'm here. I mean, I'm not really sure what to say. I'm just listening and.

No worries at all. Now that we can see your artwork, it gets even better. Well, so, so, Bret, I'm gonna throw it back to you. We're, we're about to immerse into a bit of a poetic share. We have Razma come on, we have Ruta come on, right? Maybe, I don't know how much space you had in the Beaming Region Era space so far to share about yourself and kind of your journey and You know, about how it happens for you that you're connected to something like the Design Science Studio. But maybe this is a good moment to ask you a question or two to just, you know, we did a great podcast interview that I'm— that just launches this week actually as well. And I know you have a fascinating story. So I'd love for you to just maybe share a little bit about your— your connection point with the Design Science Studio and how it was such a clarity for you to, you know, to make this a part of your life, to make this part of you.

Cool.

Yeah, thanks, Julian. I appreciate the invitation. And yeah, I'll spend just a couple of minutes sharing a little glimpse or piece. Hello, Helena. It's nice to see you. And hi, Dean, by the way. Hi out there. We're going to bring everyone in. We're just kind of settling in. We're not really in too much of a rush here. We like to take our time and enjoy ourselves. So, you know, Julian, there's a longer story which I'd love to share at some point, but really what I want to share is in 1994, actually, I'm 45 now, so I was 19 in 1994, and I had an experience that can be called a psychotic episode. It could be called a spiritual emergency. And a couple other things. And it really depends on what kind of culture and community and paradigm that you live in and you come from. So, you know, in some indigenous communities, when something like this happens, they might pull you aside and think, this person is gifted, we need to train them, we need to teach them about their gift. There's somebody who might become a medicine person or a visionary for our, for our community. But I was in, in New York and New Jersey living at the time, so I got thrown into the— label of bipolar disorder and put through the mental health system for 10 years, uh, in the— throughout the mid-'90s into the early 2000s. And so I kind of dropped out of the mainstream at an early age as far as having to make my own way and, and be faced with this personal kind of calamity and thrown out into the wilderness, like, um, not understanding what was happening. So I've always been an outlier in that way. And, and that's coming from somebody, by the way, who was super kind of popular up until age 18, and like, you know, even like winning like prom king and going to college and all that. So I had a very like a positive upbringing and all. You wouldn't— it was a complete slap in the face for me to end up in the psychiatric institutes and these day programs like One Flew Over the Cuckoo's Nest. It's actually like that. For people who are not familiar, it is actually that bad. It is actually that horrible and terrible in many ways. So, so I've always been on the outside. And 10 years ago, I made a new commitment. I was feeling a little bit depressed again. And I realized if I didn't get out of my apartment and my state-sponsored funding and all that, I might just end up the rest of my life in that pattern. And I decided to follow my bliss, as Joseph Campbell said. I decided it was kind of now or never for me. to take a new life path. And ever since I did that, as Joseph Campbell said, when you follow your bliss, doors open that won't appear to other people. And I think we're all— I mean, I'm getting the chills thinking about it, and I wish I could quote him word for word, by the way. It's a shame I'm not quoting him word for word. It's such a beautiful paragraph that he talks about following your bliss. But I think we've all— to tie it into the, you know, the 144 of us and everyone on the planet, like you mentioned. I think we're all tuning in and turning on to this idea of when you follow your bliss and you follow your highest excitement, things start to fall into place and you start to meet people who are in your field of expertise and your interests, and people will help you. And there's a kind of a gift consciousness and a gift economy and a gift paradigm also around these spaces because people are less concerned about appearances and what people believe to be the status quo or what is expected of you. People have this deep longing to be impactful and to be of service to the world. So that's the world I stepped into 10 years ago. And last year I launched a vision for something called Togetherland, which is an immersive kind of interactive planetary-scale infinite reality play. And it's really hard for me to describe in a short term. I'm still learning how to do that. But one of the, uh, main cohort coordinators, Nicholas, saw me talk about that and he said, you got to be part of this. And when I heard I was going to be with 144 people that were into Buckminster Fuller and all that he stood for, I was like, absolutely, 100%. And I am so glad I made that decision, Julian. I'm so, so glad I made that decision. And by the way, it was a shit show for me a little bit. By the way, the first 6 or 7 months, the way we went about doing things and the tools we were using were not ideal for me as a personality and an archetype. I have to say, the last 3 weeks where we all actually came together to do this launch created this impetus and this ability for me to get to know people finally deeper and to be on Telegram and WhatsApp and small Zoom calls. It was kind of into my field of multi-thinking in all these different places. So I've actually Finally had the experience of what I knew in my head, which is these 144 people, which are a microcosm of all of you out there. So I'm not separating those 144 people. I'm just using it because that's my living example at the moment. These 144 people are some of the most brilliant, heart-based, visionary, artistic, experienced, generous people on the planet. And it's only just hitting me the past couple weeks what I've actually gotten myself into, Julian. And this is why I feel so on fire actually with optimism, because seeing what people are doing and what they're capable of, and it's just incredible. Just incredible. I think we have Mark tuning in. So Mark, oh my gosh, in my excitement, I didn't say. So Mark, thank God you're here. Mark and I have been holding down the space for this Beaming Regen era, and we're going to continue the next 10 years as well. And I think he's tuning in with his audio. He was just giving a presentation over in another space for the Design Science Studio. So I'll be—

Brett, Brett.

Yeah.

Are you there?

Brett.

Mark, you sound like you turned into a seal.

Hello!

What a trip! What it took to get here after all of these years.

Wow.

I'm sorry to interrupt. Hi everybody, what's going on?

Welcome, Mark. Welcome, Harlan. Welcome, Helena. It'd be great to hear from all of you. Bret just shared a little bit of his story, which is fascinating, and he literally just shared The tiniest bit of it, and I think it's one of those many human stories that shows us that there's so much to all of the eight billion different ways of how humans live on the planet. And maybe in our lifetimes we can't hear everyone's story, but when we get everyone to come online—and I don't mean the internet; well, maybe also the internet—but to come online and live who they are, express who they are, give their gift to the world—suddenly a This planet is, you know, changing identity to a new—

You know, if—

sorry, Bret, did you want to say something? Because I—

yeah, go ahead.

Well, I just came— like, I'm vibrating from coming from where I just came from, from the main session, where you had a number of the different artists that are in the Design Science Studio who are building this storyverse of Regenera, Heart of the Regeniscence. And as I was getting ready to speak, suddenly I was like, I was getting all nervous, you know, I was like, it was going to be my turn today. And this idea of sharing something that's so deep within, like I'm sure Bret just did, that That doing that is— it's just, it's not so much that I'm doing it, but that there's— it's being received, right? And in any message that we put out, in any way that we tap dance in our ability to communicate, that it's just this— it's that ricocheting between that we sense each other. You know, and, um, this ability that we've developed in this very short time to do this, which I think is what you were saying about the internet, it's like, okay, yeah, we all will be here, and this is what is affecting the change, the story, the dynamo. But it's only to remember, right? To get back into this re-thing of what was it, where did we come from? And, and it was fun because I got to tell the story of meeting Alejandro, the librarian of Regenera with Nico, and we went and visited with him and he told the story about the game of telephone. And so I'm gonna recall it right now to share it with you, if I may, if that's okay, because I think it's relevant.

Please do, and introduce Alejandro for everyone who hasn't met the character yet.

Yeah, I don't have him up on the screen.

I'll find him for the screen, but you can maybe just introduce him by describing him.

Yes, of course. So, so I'm here now. I'm really here now. This is no fake screen. I'm here right now with you. Right? But at the same time, I know when I just said that is now a recording somewhere, maybe, and you may run into it and you may recall it. But now we're here. Whoa, did you feel yourself move through time? Crazy, isn't it? So this story that Alejandro, the librarian in Regenera— Regenera is the floating city of the heart of the Regeniscence, and it's kind of fun because there's a lot of wordplay, and I think that was tickled by Alejandro the librarian. And it's, you know, I was very grateful to meet him a long time ago. Even though Alejandro comes from 2030 when they built the library, he was probably the last human to tell this story.

And this is the way it went.

I'm sure you all remember the game telephone, right? You play this game and you whisper from one ear to the next. There's Alejandro. He's such a funny character. I love him. He was, you know, he was a collaboration, a co-creation, a notion of an idea, an ideal of how the thread of wordplay can carry us forth. So anyway, so Alejandro said, so you remember this game and you have one kid and he whispers in the ear of the next and off they go around giggling, all the while the story changes? And, um, I said, yeah, I said, I remember that. I used to play it all the time as a kid. It was really funny because when it got to the end of the story, like, the first guy would be like, what are you talking about?

That's not what I said.

He said, yes, so I want you to imagine now, because you can do that in the here and now, that you can actually hear the cacophony Of all of humanity, from whence we came, where we're going. And that story that started somewhere on this planet, we're not sure. That story, instead of it being from the ear of ear, from one child to the next, it's from generation to generation. And that story is not about what had been said from whence we came. It's not about the story of separation. It is not about divide and conquer. The story from whence we came is divine and concur. Divine and concur.

Divine and concur.

That intuitive notion, something that you feel deep inside. It's a sense of life. It's something that's just so beautiful. And then when you align yourself with that and open yourself up to that, that's the story you're going to want to live into. That's the story of who you will be. That's the story that we're beaming, right? We're sharing each other's path together in this incredible agility that we've developed over these years to be able to do this. It's amazing. All right, so that's my ramble. Where are we going?

Thank you for bringing Alejandro the Librarian alive and to, you know, guide us into this flow of time travel. Bret, over to you.

Yeah, thank you. Thank you, Mark. Thank you for, for coming back. Mark's the P to my POD, like the rip to my bong, the hip to my hop. So I'm glad you're back, my buddy. Um, yeah, so what we're gonna do is in about 10 minutes we have Helena coming up. She's going to share some of the work that she's doing in the Design Science Studio. And now we're actually going to turn to a friend of mine named Alex. Alex, I'm just going to keep going for a second. If you have the clip of our podcast for that first minute that you could possibly screen share, see if you can get that on cue. Cool. So Alex is launching a cool new podcast, and we did an interview together a few weeks ago. And so he's going to show this clip for just a minute. He did this beautiful job of doing a montage of some of some of my clips, and I wanted to give him a chance to come in just for a few minutes and tell us a little bit about, you know, what the podcast is about and, you know, tell us where we can find him and all that. So Alex is an awesome, awesome guy, um, with his heart in the right place, as we all have. And I'm really glad that you decided to stop by, Alex, and just share a little bit of your passions and your gift, because this is your tribe too, my friend. And, uh, Let's see, let me just check my, uh, spotlight thing here and get this all the right way. And, uh, yeah, there we go. Hi, Alex. Why don't you just give a quick— your full first and last name and where you're from and how you're feeling?

Yeah, thank you so much everyone for this ad hoc invitation. It's such a pleasure to be connected with all of you here. So I'm Alex Lotsepolski. I'm based in Latvia right now. So yeah, and thanks for the invitation. So you want me to go ahead straight with the clip and then say a few words?

Yeah, well, why don't you— yeah, let's play the clip because then you can use it to bounce off of and you can share a little bit. And you did such a beautiful job, Alex. Thank you so much. You made me kind of look fun. So thank you so much.

My pleasure. Go for it.

So share sound.

Awesome.

Learning how to work with your—

do your shadow work, learning how to take responsibility for what you're creating, learning how to receive and give feedback, learning how to become your best self— all those kind of things, I think, ultimately are the most radical things that we've been involved in. And unless we all recognize our essential natures, we can't have world peace. Like, everything else will be a facsimile and will lead to eventual argument and breakdown. And the most important thing that the world needs is people to find, understand their true essential selves. Instead of him just trying to create a company out of that with a few board members, you know, and primary investors who become billionaires because they own most of the company, so to say. His intentions are really to be a systemic planetary-scale philanthropist, like as an innovation. How can I call people to leave capitalism or something? How can I call people to trust emergence if I don't really dive into that thing myself? He's going to use all these new technologies like decentralized thinking, holacracy-type thinking. It's going to use omnicentric-type thinking. Altruistic principles and compassion. And let's just get on with it. Like you're saying, let's show the world what we're talking about and just make an invitation, period. It's just an invitation.

Great. Thank you. So, so Alex, tell us the name of the podcast and what inspired you to start working on it.

Yeah, so it's called Co-Emergence Podcast. So it's co-emergence.org. And yeah, really, it's the inspiration that I followed, which was following the different media channels and different conversations, also like conscious conversations about what's wrong with the world. Right? And really, I was curious about what actually works with the world. And this is really the, the call that I responded to. And when I started exploring further and further, I found that there are so many visionaries that are actually already ahead of this conversation and ahead of this inquiry. And yeah, this is really the journey here to explore what is the vision that we could co-create, that we could clarify. You know, on an individual level, we are advised to create vision boards and to create a clear future, what we're moving ahead. But what about the collective level? Like, do we have that fully clarified and articulated? in high resolution at a collective level. And that's the experiment. That's the kind of thought experiment that I'm inspired to do through this. Can we co-create that? And also, what's clear that the future is collective, that it's collaborative, that is emergent, right? That it's co-creative. So my dream, my intention through this as well as to experiment and to have like this social experiment, can we co-create this collective vision board through self-organized endeavor. So that's my other side of this, like, how can we do that? How can we create a structure that's self-organizing? So this is an open platform, as I've seen it could be. So it's an invitation for people to join, to host sessions, and for more guests to come, and for more people to see how we could co-create this in a self-organized way. And there are some already insights and some systems and processes that I have come across that would enable this to be possible. And there's more to explore, right? And it's emergent and we'll discover it as we do it. So that's kind of the game in a nutshell.

Thank you, Alex. Perfectly put, succinct and clarifying. By the way, please put a link if you want to share a link into the Zoom chat. Also find the Facebook feed if you can and put it in there if you'd like. It's up to you. If you're not ready to launch fully yet, then don't if you don't want to. But I was wondering, I'm going to ask one more question, then we're going to turn it over to Helena, who's scheduled. So I like to keep on time, which I know you appreciate. And so that's why I'm not going to ask everyone to interact at the moment, just because I like to try to keep on time when I can. But I will ask you this, Alex, because Julian's on the call here. He also has a podcast. He's been doing it for quite a while. You should also check that out to learn as well. He's kind of a pro at that. We're going to be turning this beaming into a podcast. I get the sense of a little bit of— and maybe I'm not familiar because I'm not in the podcast world, but I see us all weaving our podcasts in some way a little bit more.

Mm-hmm.

Like somehow having them be understood to be an ecosystem where maybe we all specialize a little bit in different pieces, but don't have to reproduce the same thing all the time because we can look at like crisscrossing guests maybe, or You know, having all of our podcasts be on one meta channel, like on a YouTube, whatever that might be. I was wondering if you had any thoughts about that so we don't all have to lift, you know, that heavy thing on our own.

Yeah, I love that. And I think it's yet again a question of co-creating and seeing what emerges and what form it really wants to take. And one thing straight a way that comes through from what you're sharing is definitely having some database of maybe best practices of running the podcast and, you know, making it sustainable and having some kind of hub where we share, you know, best practices, basically, that's for sure. And then seeing how we can, as you're saying, right, like, share, cross-reference the hosts with each other, the guests with each other, and Yeah, so I think it, it could be a really useful thing to do.

Excellent. I saw Karen has posted in the Zoom chat, love to see the conversations also hosted on Clubhouse. I think, I think we should look into that, like, like just broadcasting the actual live thing with microphones or something on Clubhouse, because I wouldn't personally want to just do a Clubhouse thing and then the live thing. It's like too many, too many things. But if we can technologically manage just kind of hook up a, a phone, you know, Karen, I guess, and just broadcast, literally broadcast it live. And then one of us can go into Clubhouse afterwards. Oh, you can do it via Zoom too. Cool, Karen, man, look, maybe if you're into it and you know how to do it, you want to help us all out, send us a— send me a message. But thank you for the— I mean, yes.

Yes.

Big yes to that. So Alex, I'm gonna, I'm gonna move on. Uh, thank you so much for being with us and My pleasure. We'll see you again and really appreciate it. There's Alex's link, by the way, www.co-emergence.org. And we started this whole broadcast with Julian talking about emergence, so it's only fitting that you came in today with Co-Emergence. And we'll hook you up with a bunch of, you know, DSS peeps to come on. Maybe you want to even have a Co-Emergence subset, like Co-Emergence with the Design Science Studio, and we can have a bunch of people come through over the months and all that. Yeah, we'll think of something.

Looking forward to that. Thank you so much for the invitation.

Right on, my friend. Take care of yourself and hang around or not.

Right, thank you, Alex. Thank you, and thank you for the, the time you took to share Bret.

Yeah, thank you, Mark.

All right, so we're gonna also— we're gonna move on to Helena now, and let me find So I'm just learning Zoom direct— direct directions. So, all right, let's see. Spotlight. There we go. Hi, Helena.

Hi.

How do I pronounce your name correctly? Would it be Helena or Helena or—

Um, I was just having this conversation earlier today. I'm Afrikaans from South Africa, and I believe your name is what your mother calls you. So, Helena. But I'm also just known as H in some circles because, yeah, I think once I tell them, they must try and sound like my mother. Yeah, so, Ileana.

So the H is silent, but yet when written, it's the only thing present.

That's the one that they go for.

All right, well, listen, we like to kind of just give you the floor. We like to invite you to Settle into your sharing in whatever way feels most comfortable for you. You have the screen share option, and we'll, we'll have some conversation afterwards, but until then, feel comfortable to take it away.

Okay, um, I loved what I've been hearing since I logged in earlier, and just what you were sharing, Bret, with the Design Science Studio, you know, when I'm primarily a big event coordinator and I coordinate communities. Like, I ran the Department of Public Works for Afrikaburn, which is the biggest Burning Man regional here in South Africa. So obviously when COVID hit, you know, I had 2020 planned out that this was gonna be the year I was gonna make money in commercial events. And so obviously COVID like flipped the script completely for us. And I think if I hadn't found the Design Science Studio to like have a daily check-in, like have this group of people driving me inspiration, things that I would've never found, I may have just gone into a Netflix hole or something. And it's really been amazing to sort of take this, like for a long time, my fiancé and I, who we both work in events, we'd known that we wanted to do something. We've got such practical skills, such—

Yeah.

experience of running small communities and groups of random people doing crazy stuff together in harsh conditions, that we wanted to really turn that, you know, especially in South Africa where we live, there's such a need for basic infrastructure, you know, and we built this basic infrastructure in the middle of the desert for a temporary experience. That's an important experience, but it's temporary. And then we pack it up in a few containers and it stands there in the desert for a year and We really just felt like we wanted to do a little bit more for and lasting things with our skills. So COVID, as much as it's a crazy, scary scenario to be in lockdown, it finally gave us time and space to take the ideas that we'd had forward. And the Design Science Studio, you know, my friend sent me the link to the studio and I was 50/50 on being completely overwhelmed with what they were saying and being completely inspired and it just speaking to my soul in what we wanted to do. So I applied. I'm going to try and get to my share, right? Because in the end, my project is a mirror board, a crazy mind map of mind maps. And it started— where did it start? It started with this this just doodle that I'd made before I even heard of the studio and that I entered. And it was this concept of, for us, a local adapted version of— it's just going to load— but Fundplastic is our South African adapted Precious Plastic model that really looks at community because people earn very little and, you know, Up to 80% of South Africans earn minimum wage or less, and minimum wage daily does not, does not a life make. So for us, waste and recycling and plastic is really a way to get people, to get people money with very low barriers to entry. But then, you know, the price you can get for plastic really doesn't make it worth it, so people aren't cleaning up spaces where public services are failing them. So really it's become this, this sort of local beneficiation program that we want to— if we can turn some of the plastic waste from a community into products that they can use right there, and we can up the value of that plastic, you know, once you can give people money in hand and food in their houses, then you can start to look at so much more. So this doodle here Fantastiek expiet vrucht, meaning sort of neighbourhood fruit. The idea of local gardens and community was what I entered to get into the Design Science Studio. And through the help and assistance of the studio, I've evolved it into this sort of map for solving the problems, in my opinion. Because what I've realised is that I'm an artist in the sense that an artist has to map and visualize things for people. And, you know, my job, for instance, with Africa Burn with the Department of Public Works, you had this perfect plan on how to roll up the city in the dust, and then you get your 100 volunteers that you didn't really know about what they really could, what really their skills are, what they're really going to bring to the table, or how much they actually just want to come party in the desert. And then you get the elements of the crazy space that you've put yourself in, and then you get the fact that you're 140 kilometers from the closest shop that sells anything. So you really— I learned as a coordinator that you have to have the plan, but you also have to be quite adaptable in the plan. So for me, what I've created here is a plan that I really think we can start with, you know, what does the community need and how can we turn their waste into a resource that they, that, you know, that's public that's infrastructure or that we can use for them in the town, or that they can, you know, people just want to put fences around their houses. They just want to not live in a corrugated iron shack in the heat of Africa. So if we really can just, you know, start to make bricks and beams and benches from the waste that the public services in their community isn't taking care of anyway. You know, once you can do that for someone, then you can start to bring big artworks in, then you can start to have conversations, you can start to educate, upskill people to work with the machines, to design the product, to, you know, then the world is my oyster, I feel. And so what I think I've mapped out here is an adaptable model because it all depends on who steps up, you know, what does the community want. Who's the person that shows up, that moves forward in the business or the program. Because it starts with a viable business plan, essentially. But we obviously want to get to a point where we can make big artworks and we can educate kids and we can share our cultures. We're also a country that's been through a lot of segregation, I'm from the first generation that sort of went to school with other cultures and languages and cultures, but when you start to look at sort of our ancestral skills and knowledge, they've all kind of done the same things. They've all used the local vegetation, medicinal purposes of things, and there's so much that I think once we Can start to have conversations and work together, can learn from each other, and then the diversity becomes our strongest point rather than you know this the old the apartheid slogan was sort of Indra Mok Mach. So it's like singularity, the power of that, and I feel the power is more in our diversity and in sharing our stories and the best of. the best of our ancestral skills mixed with the best of technology and sort of learning the lessons from the developed world, taking only the best from the developed world and not making the mistakes that was made on the way to being developed as we're developing ourselves. So that's— I would like some questions to maybe guide my conversation a little bit. So I was enjoying your Your interview style, if you don't mind.

Sure, let me just adjust my thing here a little bit. Is it helpful to keep the map up while we talk?

We don't have to, I can—

It's okay, I just was— let me just side by side.

It's updating itself, of course, now, so All right, let me see.

I know I've got a couple questions. I'm wondering if, um, Mark, do you have a couple questions or should I just take it away for now?

Yeah, please carry on, Bret.

Cool. So anyone, by the way, if anyone has a question that you can write, put it in the chat, and I'll also raise a hand as well if you know how to use the Zoom function, um, because it's hard for me to spot. Maybe Mark can also keep an eye out because I'm not on gallery view at the moment. Um, so On a bigger level, Elena, I'm really bad with names. I'm really sorry. I'm just— I'm going to call you H. See? Perfect. There's something that fascinates me, and I want to be humble and vulnerable and honest and admit that sometimes I'm not the most politically correct. person or diplomatic, but it's not because I'm disrespectful. I just, I actually don't have a lot of experience, I think, with like a lot of different cultures. I mean, I've traveled a lot the last several years, but really still Western, you know? So pardon, please, please take, you know, understand that if I— I'm not gonna— it's just, I just sometimes I just, I mix, I don't mince words sometimes either.

But it's a big world as well.

Yeah. One thing that fascinates me is I spoke to a friend recently who's working with the Māori New Zealand. And they were very open to the indigenous wisdom being integrated with— this is where I got in trouble. Let's say modern technology or progressive technology. I don't mean to make division. I just was trying to make a distinction. And they were very open to that. And then I've had other experiences because I've been in technology that's very biomimetic and very heart-based. Like the technology platforms I was wanting to create were very heart-based. like, for me, the right reasons, you know? And we'd often run into, to, um, some cultures that were very anti-technology, you know? And it felt like unfair a little bit, like it was their way or the highway rather than, aren't we all in this together? Like, I understand, you know, colonization has happened and there's a lot of terrible things that's happened. And, but also there's some beautiful parts of technology, you know?

Mm-hmm.

And it doesn't have to be divisive or like, the old versus the new, or the indigenous versus the white man, whatever ways you want to put it. I think we're all indigenous to consciousness. Yeah? So can you speak a little bit more about your relationship to integrating permaculture, internet technologies, and the indigenous perspectives? Can we just talk a little bit maybe about that in general? I'm not sure the right question.

I just want to open the portal to the—

You know, to the top?

Yeah, look, it's from the beginning, one of the things sort of yapping at me was, you know, being a white Afrikaans person wanting to come in and fix things, you know, that you're scared of, like the social media, becoming a hashtag, or— but really something that I've learned through the studio and through people that I've interacted with. And it's just the idea that if you go with the right intention, and I know what my role now is, I know that I am a facilitator, I know that I see a big picture, and I've learned that you need to then let people in the community sort of go with that. And I think we would always go in with Quest, you know, with a collaborative kind of mindset. And for me, when it— South Africa has many cultures, we've got 11 official languages and more than that tribal sort of cultures within it. So it's always tricky. We're all essentially, you know, there's 2 of those tribes were here when, you know, people that we can trace back to thousands and thousands of years of cave drawings and having lived here. Most other tribes migrated from Africa down, or, you know, my people came by boat. And we're a very diverse mix of people that have come from quite a few places, so it's hard to say, to speak for any one of those. But what I found with just my research just around fynbos, which is the local vegetation, it's the most diverse biome in the world that we live in with the vegetation around us. And just when you start to look at those plants, medicinal uses of it, the Xhosa gogo did it, the Afrikaans oma did it, the Khoisan auntie did it. Like, in all the cultures, they all found that, whether they called it kooi grot or mpepu, they found that that was good for coughing. And if you had a sore tummy, you use that one. And so there's this sort of overlapping knowledge that that's where I want to go and explore that, you know. And then we can also see what's the best of that knowledge, because not all Indigenous knowledge is relevant anymore either, just as I don't think all tech. And for me, I can only speak for what we want to do really. And what— when I say— when I want to speak about sort of Indigenous skills or ancestral skills with tech, for us it's the precious plastic model where you can shred and melt down plastic into rope, essentially filament. And with that filament, there's so many weaving techniques, baskets, like chairs, like all those kind of things that you could do, whether someone is open to that or not. But it's a, it's a resource that's available to, to use. Am I answering your question?

Yeah, I mean, well, there's, yeah, there's no specific answer. I just like the conversation in general. Does anyone else have a question on this topic or some kind of way to relate to this? And advance the conversation or inquiry at all. See if anyone— if you do, just gently turn on your mic, please, and, and enter the enter, because I can't see everybody. And if I don't hear anything in a second, I'll— I have another question. I just wanted to give someone else a chance. All right. I don't hear— I don't hear anything else. So I want to ask you another question, H, because you hinted, you hinted at it. And this is another topic that I'm very naive at. I know that there's Already methods and answers to this, but I personally have not spent enough time speaking to people such as yourself and some of the indigenous elders to find out the answer to this kind of question. And part of it, just to be vulnerable and honest again, was I often feel like I'm being judged, and I often feel like it's like reverse racism and reverse negativity, like, and so I, so I shy away instead of going into that fire because I shy away from, from wanting to, to not have automatic equality, so to say. But someone told me, you know, the wounding and the pain is different for a lot of minorities or indigenous, and somehow I have to learn how to— even though we have the same human pain, which I still don't understand, to be honest with you, H. I mean, on one level, I don't understand that. Like, it feels like not aligned for me to, to, to paint everyone's pain as more— someone's got more pain in their life, like more cultural pain. Like, I mean, I'm from a Jewish background, they've got the Holocaust, you know. My, my cousin is half African American and half white because my, my aunt married a, you know, a Black man. So we all— it's very difficult for me. So my question— My question is, how— you said it's about inquiry, right? Is it about just coming with an open heart and coming with inquiry compared to just coming with a direct solution? Like, how would we— there's a lot of new solutions out there, you know, like to make water out of thin air, you know, to do 3D printing and all this kind of stuff. And I was thinking, how come in Africa we don't have all that already? Because one time I heard it's hard to bring in things because the local governments and whatnot. Will like shut things down. Can you tell me anything about the experience of like, what if I said philanthropically I had $20 billion worth of cool tech to just give unconditionally? Like, it's not forcing it, it's just like, if you would like it, you can have it, and I'm not going to implement it. It's just a gift because I care about my brothers and sisters. Would we be able to bring and deliver on planes or whatever, like, all this equipment for you to go in there? and help everyone. So, questions around that, like, how would we make it happen? And what is the best way to approach the culture, you know, so we can be understood as being— that we care, and I'm not trying to, you know, to rule, to tell people how to do things?

Yeah, I— look, sort of corruption is a big thing, especially in politics, and in the powers that sort of decide things, how money gets spent, you know, even when money— COVID's a good example, the relief funds that get given, how it gets spent, and what portion of it actually gets spent. It's never really efficient. And I heard a talk the other day, you know, just saying like that there's no Africa is not mapped and related with the transport system the way Europe or America, North America is. I can't send, put something on a train in Johannesburg and send it to Zaire. Like, it's not a possibility. There's no direct connections in that sense. So in that sense, it's quite tricky. Even locally, our transports under the new government, our transport system, just what rail trains just wasn't kept up and just aren't functioning as well as it should. So there's a lot of transport by road, but then the roads aren't being upkept. So there's a lot of those kind of logistical issues. And then I think you would also, if you had that $20 billion, the question would be now, who do you help? Where do you help? You know, for us, it's a specific community that we want to start and trial in. And that's a community that we've spoken to. That's a community that when I started doing research, I found that the elders in that community had asked for a research piece about pretty much what I was looking for. I found this research piece by professors at a university that had come out in March 2020, and it was exactly about this. You know, they had a sense of community, everyone had their livestock and their garden, everyone shared, and they were okay. And then after And this was interesting because it was sort of comparing pre-apartheid and new South Africa in a sense. And the new South African government built a lot of low-cost housing in the area, and it's an area where there's sort of seasonal work, there's fruit picking, there's a lot of work for a couple of months a year and then there isn't. So a lot of people then move there for this free housing, but now there are new problems, gangsterism and drugs. And so this piece was that this community that I'm looking at was around that. But so if we decided to do it in that community, pilot in that community, then there's the issue of, so why are you helping this community? Or what, you know, it's a specific culture as well, specific color, tribe of person that we'd be helping. And I think those kind of things There's still something like that also locally. It's also extremely hot here today. It was 42 degrees Celsius, which I was told is over 100.

Wow.

And it's still hot, but it's like this weird end of summer heat wave that I'm dealt with today.

Does anyone else have a question? I have a final question for you, H. Does anyone else have a question or a comment that they'd like to share? See if anyone puts a hand up. Not at the moment. So H, what do you see being your next iteration or your next possibility coming out of this first Part of the Design Science Studio? Have you been making friends with some people that might be able to contribute to what you're doing and vice versa? What do you— are you going to keep going with it and then see what you can integrate? And what do you see being your kind of like the next, not the final step, just like your next elegant step?

Yeah, there's definitely a next step, which would almost be the first step in making this in rolling this out, which for us is— and tomorrow actually is our first pitch for investors. So if we could get— if we can get some money to get going, then our first step is to put up our first workshop to help the local guys already doing the recycling there to level up his facilities. And from there, just try and build our first machines. meet the first people who are interested and keen. And so there's a small, like, step by step, because we'd always want to be involved and there step by step. So, and I've met amazing people through this cohort that I'm definitely gonna— there's some people doing some interesting other also sort of community projects. And although we're worlds apart, there's something in the core that we can all relate and deal with. So yeah, there's a couple of people that I'll definitely still be working with and bouncing things off and going forward. I had a moment a few weeks ago, just as we were starting to prep for the launch, and as exciting as it was, it was also like, so I'm not going to have these meetings every night with this group of people? Like, it was a little bit sad, but I see now this week that this is only the beginning for everyone and everything. I think in the next 10 years, for the for the next 10 years, where there's going to be a lot of good, a lot of sharing coming out of this.

Excellent. Well, I'm gonna offer you a final word. Is there anything you'd like to share? Any links, or any— or just a final conclusion about your experience with the DSS, or anything you'd like to share?

Yeah, it's just been such an inspiration, and The best thing that could have possibly come out of being at home, locked at home for a while, and I'm very fortunate. But I'm also— I also know that everything happens for a reason, that we were all led here now, and that the decade ahead, I have a lot more fire in me and a more positive outlook, thanks to the studio and everyone that I've met through it. And thank you for what you're doing. This is great. This has been my favorite thing to log on at night and just listen and watch.

Oh, thank you. We appreciate that, and we appreciate you. Keep up the great work, and we'll all figure out how we can support you. Thank you.

Thank you, Brett.

Yes.

Do you want to just reset the room real quick? There's so many people stepping in, and I know we're beaming out across the noosphere. Let's clue people in.

Where are we? What are we doing?

Yes, I'm going to do that indeed. So, alrighty. So yes, good evening. Well, I'm in the UK at the moment, so it's a good evening. It's a good afternoon. Good afternoon to those of you in the Pacific and later afternoon, I guess, Eastern and all around the world. What we're here today to do is really celebrate the launch of something called RegenEra, which is a project that came out of the Design Science Studio, which is supported by the Buckminster Fuller Institute and— I can't say that name. Mark, you're going to have to help me out after and say that. I can't say it, Haberitual, the other organization that is supporting the Design Science Studio. And for those of you not aware, the Design Science Studio is really like an incubator for artists and visionaries to come together through what's called comprehensive whole systems design, which was pioneered a little bit by a guy named Buckminster Fuller in the '50s and '60s and '70s. He was a fascinating, amazing visionary, among other things. So, we've been involved in this 8-month process that started in August. This cohort of 144 evolutionary revolutionaries came together. And this week, we culminated that 8 months with the launch of, again, this thing called Regenera, which is this story world. And I'm going to show— I'll show a link and show I'll show you some graphics in a little bit. But Regenera is this story world. It's like an artifact. It's a tool. It's a narrative. It's a way to talk about and share how we ended up in 2030 and beyond in a regenerative world. So, Regenera is about the movement of the regenescence and what it means to help everyone Have a thriving experience. All life, all beings thriving together. And that is the clear mission and intention of something like the Regenescence. And Regenera is this beautiful, beautiful artifact. It arrived as a floating city, a mythical floating city, on Sun— this past Sunday, and will be here for 10 years. To help us shepherd in as a vehicle to this clearer destination at the end of this decade where we are really, really living the story of a reality that works for all. That's not the most comprehensive review of the Design Science Studio and all we're doing. So Mark, I'll give you— why don't you just give your flavor, you know? So we're not just going to read bland copy. Let's just give your flavor.

Yeah, no, it's just, it's just fun because we're— it's the story that's evolving, but it's a story that's being told, and it's a story that's being recalled from the future. That's the interesting part, is that, you know, there's this, this essence of what humanity is just being willed towards, and there's that notion of an ideal, that, that, that idea that, that we should continue in To be able to stay on this path and be able to keep telling this story from one generation to the other. And at this point in this time, the here and now, we're, you know, there's a great effort around the world and this weaving that's come together at this point in this time, the here and now, which is reflecting upon 2030 because we can imagine And we can be in that presence of mind. It's not time travel; it's mind travel. So we're here, mind traveling. We're being.

Oh, you said my favorite thing in the world.

That's excellent. Okay. So we're here, and we're here in Regenera, the heart of the Regenescence. And let's not forget: I'm here to remind you. We have a lot of rewords happening out here in Regenera. I'm here to remind you— I already forgot it. What was I going to remind you of, Bret? What did I need to remind you of?

Well, I'm not 100% entirely sure, but I— well, actually, I do know what you need to remind me of. One, in a second we're going to bring Harlan in to give a little bit of a promo about what he's, he's been doing this week and what he's going to do in his presentation. Then 2, I'm going to reintroduce some of the artists to who have been joining us and tell the world about what the artists here are doing live and what they've said yes to, which is really an awesome part of the story. So yeah, so the first thing we're gonna do is we're gonna ask Harlan, and if he's not there right now, we'll just come in a second. Let's see if he's there. All right, Harlan, just give me a chance to put you on the spotlight. All right.

I'm here.

The floor is yours.

Cool. All right, you guys are—

Hi, Harlan.

Such a great job.

Beamed aboard! We did it successfully, all in one piece. You're there.

Okay. Well, I know in the interest of—

shipwreck.

Well, anyway, yes. Should I just start? Okay. I'm giving actually 4 talks. I gave one yesterday on sacred geometry. Today, I'm going to be speaking about the trans portals, the interactive installations I've been building for Burning Man and other festivals around the world that use sacred geometry, color, and sound to create an environment to facilitate an evolution of consciousness. So that starts at 3 in the Futurist Cafe. We can throw the link in there, I suppose, in the chat. Friday, I'll be talking about conceiving future environments. And then Sunday afternoon, I'm gonna do a summary of all of that wrapped up into one, is what I plan to do. So you can join me, and that's all happening, you know, go to the Presence, you can get your tickets to it, you'll see them listed. And I'm gonna throw the— oh geez, it's a little— this whole Presence and scheduling thing, I don't want to go too much into my commentary about how they're running this. It's a little complicated, and I get a little frustrated. I'm sure some other people get frustrated. Yesterday, people tried to come to my talk, and even people who had the password couldn't get in. I don't know why it's so complicated. It's a little sad, but hopefully it'll work. It's a lot of different platforms, a lot of different things going on. Yeah, absolutely. I mean, that was— some people tried to come and didn't have the password. That's understandable they didn't get in. But someone just messaged me in the thing that they said they had the password and it didn't even work. So hopefully it's not gonna work.

So Harlan, can I ask you a question?

Yes, of course. That would be much better than me rambling on.

Okay, so, so, so here's what I— here's what I'm, I'm looking for from you. I'm looking for a little conjuring, okay? And we're gonna start right here. Are you ready to play?

Yes.

All right, here we go. E leprechaun, e leprechaun, tell me an age-old secret. E leprechaun, e leprechaun, where do you hide and keep it? You started with a word, this I have heard, and now I intend to seek it. Harlan, what's the first word that comes to mind?

Re-enchantment.

Re-enchantment! Harlan, re-enchant me. Cuentame. Tell me a little story with re-enchantment.

Wow, boy.

Well, you know, re-enchantment is one of the 4 or 5 words that we were talking about in the past session, and that's my favorite of them. Re-enchantment. First of all, chant, that's to speak. And yet, you know, it's also about magic. You know, it's the metaphysical, spiritual mystery part of how we are creating our world. And, and that's what I feel that, you know, I align the most with in, in what I'm trying to do. I'm, you know, as much as a very scientific, rational person, I could go on and on. Did that answer it enough?

Oh my goodness, that's such a sense of you that I didn't expect, but I totally knew it was coming. And Harlan, we're so grateful to have you in this because you keep reminding us of that mystical place that is so true because it's just something we can imagine to be truth, right? And, um, how— I have one last question for you as you— because you're going. Remind us, um, what's the title of your session today?

Yes, today's session is Transportals, which is like this umbrella term that I give to what I actually just call the There's a website for TransPortals. It's also a section of this new website that I'm putting in the chat that I just launched for this whole RegenEra Rising event, which is Portal to the New Earth. So the TransPortals is just one facet of the work that I do. And it's something— it's because I'm able to, you know, think of a thing and build it, bring it to Burning Man. Ultimately, what I want to do is, you know, re-enchant the world with eco-cities and eco, uh, you know, sacred, uh, environments. But that, that's what I'm working towards. Um, wow. So today's talk is just going to focus on what I've been doing since 2004, although the story starts in 1984. You'll get that in the talk. And so, you know, join us, 3, and the link is in there. I put the password in there. Hopefully everything will work smoothly. Friday I'll be diving into the future environments that I've been dreaming about my whole life. Then Sunday, which hopefully we'll get the biggest wrap-up when people are available to come on board then. Thanks so much for having me on Beaming. I love the term beaming. You spoke about that in the previous session. When I was with Terence McKenna back in 1986, sitting around this fire with 40 other people out in Joshua Tree—

Oh, yeah.

You can listen to those talks. They're all on the psychedelic Salon. It's called The Rites of Spring. They're 248, 249, 250, and 251, Psychedelic Salon. Me— and I'm on there arguing with Terence McKenna, but he—

Yeah.

Would bring up— would have us talk about words that have like opposite meanings. And it's not exactly like beam is opposite, but a beam, it's a solid structural thing that holds up a building. It's also just a shaft of light, but it's also a verb, to beam something somewhere. What a cool word. And I love that Harlan goes into using language that had these kind of opposite or, you know, multiple meanings.

So, you know, really, that notion of beaming, I had the experience of sitting with John Willey when he was—

Oh my God, I saw him speak once. I was such a fan of him.

Oh, he's my idol. His wife, yeah.

You got to hang out with John? Oh my God.

Yeah, it was just for a short while, but it was the day, and, and he and his wife, and they were there in their white overalls, and of course they had been working, uh, with the dolphins, and, but, you know, John was beaming, and, and he's here now because of the fact that we can do this, and we can transport him in and have these Omni-Logs about and with the ideas, Of our friends, right? Those that have affected us, and now we are in the presence of mind of beaming as well. I, I'm, I'm really, um, curious. I have a question for you. Speaking of beaming, it sounds like you're going to be doing your, your backcasting. You're, you're going back to the '80s, and then you're talking about where you want to go in the future. And so there's this— What I really love about this is this presence of mine of being here now, but yet you can extend and expand your peripheral vision in your mind's eye of that which you can recall and remember. And that may not only be from what you've heard or seen, but that which has come through you through your generational genes and all that the universe carries. And that we are reminded of that as we expand our peripheral vision, and some of us have learned it almost dissipates, and then you— there you are. So without going too far, my question to you: it's 2030 now. It's time for backcasting camp now. You're a camp counselor. Here and now. What's your gig?

What, what's my gig?

Yeah, like you're a camp counselor. What are you doing in this idea of you're there with a bunch of kids and you're reflecting with them to help them become refractionaries, to turn the prism like you had around your neck, to see what else happens?

Yes. So my feeling is we're here in 2030. We're over the hump. The fact that we understand our reality to be vibrational frequency and consciousness, I'll be there with the kids. They're already going to be awake and aligned with this. We're going to be past this control matrix that we're still struggling to escape from right now. So I don't really need to you know, badcast and dwell on what we just came out of. We're just going to be like, hey, look at, you know, look at our reality. It's magical. It's enchanted. We just interact with it in the most magical, most beautiful, most sacred way. Simple as that. So I hope that answered that. But is that good? Because I want to just comment on stuff we just talked about a moment ago, but I wanted to answer that. But yeah, 2030, we're going to be living in those eco-villages. And we're a camp, we'll be having camps for these kids. And it's just going to be, you know, we're going to be there. It's going to be really there. Uh-huh. You know, I've been, I expected it to be there, you know, already. And you brought up John C. Lilly in my response to Terence McKenna, 2 of the most brilliant psychedelic researchers of the 20th century.

Of course.

Timothy Leary would have to be thrown in there, and I would say the top 3 then. And I can't even think of, you know, anyone else to even put in that league. But Lilly was such a scientist also, and he came out of that background. In some ways, he's the most important of them because of that level and recognition. And if people don't know John C. Lilly, metaprogramming and the human biocomputer, center of the cyclone. I mean, they're a little dense because he is a scientist.

Yeah.

But oh my God, thank you for mentioning him because he is one of my biggest, you know, what do you call it, you know, idols.

Inspirations.

Inspirations. Because he put into scientific, rational terms the ineffable of this, you know, from his psychedelic experiences. But the psychedelic experience, psychedelics is just a tool to see beyond this veil, to see deeper into the underlying nature of the universe. And then the other thing is Dan threw into the chat, beam me up, Scotty. I love that Star Trek from the '60s put beam and beam me up into our idea of not just to be able to be transported and dissolved. And so beam is cool.

Right on.

All right. Thank you so much. This was super powerful. Thank you.

Yeah, right on, dude. This is like my favorite topic. Thank you guys. Thank you guys for, for tuning in to, uh, John Lilly. By the way, Harlan, John Lilly started out with the National Institute of Mental Health, uh, because of his genius. He also had a hand in biofeedback devices. He also invented the deprivation tank known as the isolation tank. And he did that for NASA, actually, because they were interested in astronauts going into space. So if anyone has ever seen a picture of an isolation tank, it's kind of like a pod you go in.

A flotation tank.

Yeah, flotation tank, yes. But when John Lilly first created them, they were like a phone booth. And he went into like a phone booth, like, and would be floating under the water with a big mask on. So he went under immense amounts of psychedelics. With a mask on underwater.

Yeah, that's crazy. And of course, there's that movie Altered States that sensationalizes it. But my understanding from reading it is, I didn't know that it was a NASA-related thing. He basically explained that he was working with LSD, which was kind of a new research. This is like late '50s, early '60s. And that he wanted to just remove all external stimulation so he could just go into his mind. And that was why he developed it, was just to be in a complete external stimulation, you know, isolation, and just go into his mind and be able to travel that way.

And he was, by the way, for people listening who don't know, he was super radical, super on the edge. He died, you know, about 5 times in all of these processes and had to be resuscitated. So he was one of those rare, you know, all-in This was his life's work and his life's passions, and he didn't really have much of a choice. And he was quite cavalier and quite radical. But like you said, he was a scientist as well as a mystic and quite a Renaissance man. Incredible story, absolutely.

Of course. And I mentioned his 2 really big books, but then he wrote a short autobiography, and the title of it is The Scientist. And it just goes more— it's written a little bit later in his life, so it covers most of his exploits through all those times. Thanks, Brett. I'm glad you guys are fans. Yeah, glad to share it here.

It's great that you meant Terence. It's great that you meant Terence too. Like, I always like to use his voice and think of like the transcendental object at the end of time. So I think we're all kind of working on the transcendental object at the end of time.

No, and so this talk is from 1986, but it was just posted online around 2010. Like I say, and it's actually 4 hours long, so it's broken up into 4 parts. And I'm on 2 of the parts, because he starts off by saying, look, this is not me lecturing you. This is a conversation. Anyone wants to chime in, chime in. So I actually am arguing with him about 2012 being the end of time. You can blame me for us not shifting in 2012.

I'm going to hold you personally responsible for that. I'm grateful for that, yes. And I'm telling all my friends. And I'm telling all my friends, Harlan.

Oh, well, it's a great talk. It's one of the most definitive talks of his. He covers every single topic that he covers in all of his talks. I mean, he has 4 hours, so he goes on and on. All right, thank you guys. What a great show.

We'll look forward to the next time.

Have a good talk.

I'm gonna miss tomorrow's. I'm traveling tomorrow, but I will be around For Fridays, you know, I'm going to join in every time I can.

Oh, Harlan, by the way, Harlan, if you're still there, Friday at 12 PM, if you can make it, we're going to do something special for, for me, to be honest. It's going to be awesome. I hope you can make it.

I can on Friday, so I'll be sure to join in then. Cool. Okay, right on. I'm going to Sedona tomorrow to be with the Mitchell-Hedges Crystal Skull, which is this ancient They found it in a Mayan pyramid, but they don't know how old it is. And there's an event taking place in Sedona, so I'm driving there tomorrow to be with this crystal skull. And I'll report back.

Yeah, yeah, yeah. All right, take care. All right, here we go. Let's see. You know, it's funny, Mark. I like the, uh, the fact that, um, the, the different uses of BEAM came up, you know. So let's just take a second before I transition a little bit to share about the artist to— for you to share what the acronym means. And I, I was also— I'm thinking earlier today, I'm a big fan of Albert Einstein, and his first thought experiment was this idea about riding on a light beam and what would happen. So all— and I was thinking about that earlier today, so it was really a pro— appropriate that Harlan came in there with the multiple variations on it. So tell us what inspired you, and tell us about how it even relates to things like Buckminster Fuller and a trim tab and a ship and all that, if you don't mind.

Yeah, well, you know, Bucky was a sailor, so a lot of his metaphor and a lot of his thinking was around, um, very clearly articulated, uh, sensibilities of how to stay afloat and navigate from one place to another in the great ocean, you know. And that was something that humanity has been doing for quite a long time without a lot of technology, without a lot of electricity, before it was even thought of to be used in the way that we do it. So anyway, so, so gosh, the, the story can go in a lot of different directions, but reel me in here, Bret, because I, I could take it in a— In a number of different ways. Well, so here's, here's the thing, BEAM. So our acronym comes from Backcasting Evolutionary Alliance Mediums. Backcasting Evolutionary Alliance Mediums. And as Marshall McLuhan said, the medium is the message. And we get to say, but we are the mediums. And, um, This notion of beaming and, and being on a ship, the city, the floating city of Regenera, the idea of a ship has a beam, it has, it's the widest point is when you measure the beam, you see the beam of the ship is such and such, and the beam was made of wood, and The word in German for wood is Baum. So as English kind of wandered away from the Germanic roots, that's probably where it came from, being Baum. And so the beam of the tree, the, you know, the Baum that made the beam of the boat. It's interesting because when we talk about it, if you think of it as a tree stump, the Tree of Life, First of all, that can get me in a whole other story, but that tree is carrying life through it, that trunk of that tree that they removed and made the boat to then move themselves across the planet. So we're beaming, and beaming is an act of communication, it's an act of interaction. The beam has to interact with something for it to— have meaning. And so that's what we're doing, we're beaming with each other. You know, my favorite thing is when I ask somebody on the spot if they'll beam with us, and they're like, no, it's like, I can't come on the screen, but then they start to smile.

Mm-hmm.

And then it's like, gotcha, you're beaming. You know, you don't even have to say a word. So that's the story of Beaming. How it got here is a longer story. I don't want to go too far into that, but it does come from events throughout my backcasting loop of meeting people like John Lilly, living with people like Bob who worked with Buckminster Fuller, and now playing with all of you. Brett, you and I kind of— we met along this backcasting path and did the playing together for a while, and I never imagined even a week ago that we were going to be here doing this, to be quite honest, although I knew it once we said we're going to do it. It was like, okay, game on, this is going to be fun, because we accept, and I think that's the playfulness of both of us, and where our Our beamings kind of cross paths and then something new ignites out of that, that notion of a new idea that's co-created. And that's what happened here. That's how beaming came about, was through playfulness and the interaction of ideas that weren't just yours and mine, but those ahead of us, behind us, and around us. It's quite something when you really tune in to your being.

Nice. Thank you, Mark. Yeah, it's been incredibly fun, incredibly energizing, incredibly humbling, and incredibly satisfying, um, to do just these few days that we've done this. And, uh, I'm looking forward— even try not to get ahead of myself, stay in the now. Yeah, but I'm still looking In some senses, I'm looking forward to what the future of The Beam, you know, looks like and feels like, and learning from this week and, and how we can help it broadcast even more widely and, and have— be really enjoyable for people. So it's been really, really fun. It has been fun. It's been definitely fun going from personal talks, you know, and personal conversations to being able to share with the world. Absolutely.

You know, what's, what's, what's really fun for me is kind of the— there is a generational aspect to all this. We come and we go, right? And then along comes the next. I've got 2 beautiful daughters. Hello, my sweet daughters. Um, and it's that story that's left that's meant to be carried on, that thread we entwine with. And, and, Bret, I feel My end coming upon me. I know it's closer than it was, although it was always present every day. But at the same time, I'm holding on to this story thread, you know, it's with me, it's strong, it's like I've got it wrapped around me just to make sure I don't let go of it. Towards the end of life here, and somewhere along the line, as it kind of tugged me back, and I was like, "Whoa, whoa, whoa!" I reached out to you, and you felt like the future to me. You felt like something that was happening that I knew existed, and that it would be really fun to play in your world in that future that you imagined. Which we could actually do right now. Bret, what— why? What caught me? What is that, that singular vision that you have that's so exciting for me? What do you think that is? I'd like to hear your impression of why I love you so much.

Thank you, my friend. Uh, I have to say, I love that visual of the chain. You know, like when you said like you kind of grabbed onto me, and I have to say the first thing I thought of is who am I gonna grab onto that's younger than me? I am no spring chicken either, as they say. I mean, I'm in my— I'm 45, so I'm kind of right in the middle, so to say. So I feel quite young at heart, and I'm also not 20 anymore. So the first thing that came to mind interestingly was, oh, I wonder who that younger person is who's seen further than I have and is even more tuned in, and it's their world in the practical sense, uh, to some degree. Who's the 18 or 19 or 20-year-olds or 14-year-olds out there that we also want to create that chain with? Um, and God, I want to go on forever about something called the Gene Keys and this idea of veneration, this great hierarchy of being and knowing your place in the great chain of being. Like, who's a— like, what spirits are kind of above you and which are below you? And this is not hierarchically speaking. It's just like in the great chain of being speaking. So there's no higher or lower. It's more just like evolution and things like that. So that was a wonderful image, by the way. And I'm glad, I'm glad you reached out. I'm glad I accepted. And, and in that sense, let's find someone to help me reach out to and keep, keep this beaming or whatever, our little fractal here. I love that. And I have a clear, a clear hit on your question. And to me, it's that maybe it's because of my mental health experience that we touched upon earlier in the call with Julian and this type of ego death thing that happens and facing your own mortality in a way that is even— I was in a car accident once where I almost died, and that was not even, I would say, as traumatic as ego kind of death, or like that kind of thing. So I've been there. We all have in different ways, of course. So I'm not singling myself out, but I'm a believer. Like, I'm a— I'm on one sense, I'm like a conscious evolutionary preposterous fundamentalist. Like, for me, there's no question that life or the universe or God or whatever words we want to use would like to have a certain experience, and that experience is one of more beauty, more love, more creativity, more gracefulness, more ease, more time and space for people to have the experience of finding out who they really are and enjoying this amazing, miraculous gift. I mean, Mark, if this is— if life is anything less than a miracle, I don't even know how to explain it. I don't know how I'm here. I don't know why words are apparently coming out of my mouth, going across zeros and ones, and people are— I mean, it's a gosh darn miracle. Like, I can come up with a million hypotheses and I can talk about string theory— well, not string theory so much. I can talk about like quantum physics and mysticism and, and all this stuff. But if you really ask me, I have no idea what the heck it could possibly— how could words explain The miracle of, of nowness, of being— I am, I'm here, I'm something, something is happening. And I am fundamentally like, I already died a million times. I'm not worried about the physical death. I'm not worried about failure. I already failed. I already look like a failure to my parents and my family. Like, I already did a bunch of drugs, you know. I did this, I did that. Like, now it's like We're doing this. I'm 100%, and it may be. I mean, I don't know what it looks like. I don't know exactly ten years, eight years, six years. Time is really irrelevant. But I feel like what you, I hope, would have seen in me is really this like. I'll use the word naivete, like this this innocent optimism. But it's also there is a sense of reality to it in that like I watch the patterns. I'm involved. I'm with people. I see people that actually care about this stuff, and I'm just a little little. So we know that's a macrocosmic thing happening. And every— there's so many people. I'll get all the people on this call. So yeah, I'm a believer, you know, like I'm a believer in a non-secular version of God, you know, and I don't mind using that word personally. I'm a believer in God, God being all of us, you know, not, not some external thing to us that is an authority of us. God, God in That this thing that we all share, we all have a light, a beam. The beam is inside of us, that the beam is what gives rise and illuminates all of our experiences and our perceptions and our feelings and all that. And that thing is timeless, in my opinion, and will never die and has never been born. It's actually eternal and infinite. How crazy is that? We are immortal and we don't even know it. That's my soapbox rant.

Okay, so here's, here's how I'm gonna wrap up this, this, this little, this little wandering. So it's 2030 and the backcasting camp for kids at Togetherland has just gone into session. And they're introducing all of the camp counselors, and oh, here comes our Bret Mr. Full of It, one of your camp counselors. He's about to tell you his gig. Bret, what's your gig at camp here?

Uh, my gig is to let these children know That they are love, that they are loved, and that they can love, and that all of the counselors are here to support them in finding their greatest joys, their greatest happinesses, and to Come alive. As my favorite quote I always say, which is, don't ask what the world needs, ask what makes you come alive and go do that. Because what the world needs is more people that have come alive. So my gig is to help those children come alive and go do that. And there is nothing any child will say to me that I will say no to, or that that's impossible. If it's not impossible enough, I will tell them to go back to their room. And don't come back to me until you come to me with something extremely preposterous that seems impossible that hasn't been done yet. So I think that will be my gig.

Okay, sounds like you're more of a ringmaster to me. Like, like, everybody get that energy going and, and kind of keeping, um, all of the counselors like full of it.

We're gonna be there. I mean, yeah, that's, that's like you said, we're there. There's a difference between an abstract notion of being in a future now or in a timeless, and then there's coming from that space. And I'm working on that all the time. I'm not perfect at it, but I have a level of embodiment of the things I talk about. And I say humbly, I mean, because I know it's not, it's not full yet, but I— as much as it's a narrative and a metaphor to be in this timeless realm collapsing timelines to have the most beneficial, best-case scenario existence that enables a world that works for all life to be there, that's the place I've been to. I don't know why or how or why the universe gave me that grace or what or why things happen. But for, in my opinion, I've seen that. I've seen, I've seen the land beyond, they might say. And I'm coming back because I have to use words, coming back like Paul Revere. Instead of warning the people, I'm, I'm, I'm evoking it and saying we can be architects of the future, as Buckminster Fuller said, and not its victims. And Mark, you are a good, beautiful para— example of someone— I've never heard you be negative, actually, and wallow in, in, in misery or anything like that. I mean, we all have our ups and downs, but one of the things that I love about you is you are a positive person, and you understand that we are called to be architects of the future and not its victims.

Well, that's kind of a leprochaun. Thank you, Bret. Thank you. Why don't you take this moment here as we take a breath to introduce the artists and what's happening? What are we seeing on screen? And maybe you could feature some of them.

Yeah.

I'm gonna do that. I'm gonna go to gallery view now so we can see people while they're drawing. So right now we have Christopher, Janneke, and Arie, which is not really his name, but I keep calling him that because I have a terrible time pronouncing names, and he has graciously allowed me to, to do that to his beautiful name. Last week before we started the Beam, I put out a note inviting artists to come and join one or more of our sessions and to create art in a response, in a feedback loop to what they hear and what they see and what they feel, to be in a co-creation in that way with the live broadcast. I also mentioned to them that we were going to do an experiment with something called non-fungible tokens, NFTs. NFTs, which is a whole cryptocurrency thing. It's not even the most important thing right now. The most important thing is that people said yes. And not only that, the artist also said yes to the invitation I made, which was deeper than, do you just want to create some art? It was, do you want to create a piece of art that is actually co-stewarded by the group of us? So whilst they will still remain the autonomous kind of creative authority over their creation and how it might go out together with everything. They're also not in a silo. I said I would prefer— it's not like a legal thing— I just said I would prefer if you don't create a piece of art here and then just go off and kind of sell it as like this unrelated, unconnected thing. Like, would you like to have it co-stewarded? So we, we get all of these artworks works together, the video footage, the paintings, the digital versions, and we use the system as it is now with these non-fungible tokens to create a beautiful story of this past week, and we put these tokens up for auction, as they do on the cryptocurrency. So I don't think we're really going to sell them with a price. It's more like a gift. If people want to offer financial gifts, those funds are going to be used to support the artist, and then some of the funds are going to go towards the Design Science Studio, and some of the funds are going to go to the project Togetherland that I brought into the Design Science Studio. And this is going to be part of— so my project is called Togetherland, and Togetherland has something called the Existential Prize. So some of you may have heard of the X Prize. It's out on the West Coast. Peter Diamandis created something where people compete For resources, basically. So people have all these wonderful humanitarian inventions, and then they compete to get funded. So they share their ideas, first of all, with a bunch of rich people who do who knows what with their ideas. And then they really compete to have their beautiful inventions be brought to the world over a very scarce amount of money, all things considered, for the amount of projects that apply for this thing. And all the time, there's very little money actually It sounds like a lot, but it's not in the big picture. So the Existential Prize is going to be a competition to give. It's going to be— and the word competition, by the way, means striving together. The etymology of competition means striving together. So the world is going to strive together to gift resources of all kinds— money, equipment, land, and all that— to the Existential Prize. And what's going to happen is— All of the innovators around the world and the imagineers and just people in general are going to be supported with those resources to come together and act as a living system, as a co-creative organism. And we're going to flow those resources among us and we're going to share the existential prize and we're not going to compete for it. Because as far as I'm concerned, I'll be a little bit, you know, take a— The age of competition in the malicious, destructive, entropic sense is over, right? RIP competition. Rest in peace. The renaissance or the movement co-creation, we're moving on from that. So all of these artworks are going to be part of this existential prize on some level, and we're going to get together afterwards and we're going to learn how to share these artworks and we're going We're going to have governance system and we're just going to all share. So all of these artists have been brilliant in saying yes to this new way of being potentially and being a contributor to what we're doing here. So first of all, Christopher, Yannicka, and Arie, who are here now, thank you a million times over for answering the call of doing something different. And I'm going to ask any one of you who might like to chime in Would you like to say a word or share about what you've been experiencing or, or anything like that? Of course, you don't have to. You can just continue working. Um, and Janika, if you're there and you can hear me, I'd love for you to just share a brief word. And also, please tell the world if you have a website as well or something that they can visit and support you.

Thank you.

Thank you for listening, everybody. It was a little bit long-winded, but I wanted to share the story.

Thank you. Hi, I'm Janika. That's Delphi. She's 1. So I've been really slow going with the painting today, just distracted with the baby.

Yeah.

And ever since the other day, I just have been on Sunday, just the one day this week, See, this is why I have to stay muted.

It's okay.

I just had a great week and I'm so excited to be back painting and listening to what you guys have to say. So she's growling. So I have so much I'd love to share with all of these people here. And for now I can just say thank you for being here. I'm so inspired. So I'll be back.

Yeah, thank you, Janika. And we're gonna do— we're gonna be doing these shows for the next 10 years, so I hope you— we just keep cultivating a friendship and relationship, and you'll have plenty of opportunities to share more and, and, and have the spaciousness. And, and Janika's mom Yelena was here the other day, and she made a painting in one day. She started with a blank— I mean, she probably hasn't finished it, your mom, but literally we watched in 2 hours a blank piece of paper turn into whatever, 50%, but it looked like a full painting if you're not an artist. You know, I'm sure she's, she's not done with it, but from my perspective, it was like it went from blank, blank paper to the painting. So it was quite amazing.

Yeah, she really enjoyed it too, and she wants to paint again tomorrow or the next day when it's going to be possible. And if Delphi will be quiet for a second, I'll just, uh, share this watercolor. It's sort of, uh, just like I think of it as a visual meditation. So I kind of stream of consciousness, the end. I'm going back on mute.

Uh, thank you, the Oracle of Delphi. There, there she is. Awesome. I love to just see these paintings and all that. Um, Arie and Christopher, if you want to share, I'm just going to let you at any moment turn your mics on. Otherwise, I'm gonna assume you're, you're happy to be continuing your work. Let's see if Christopher wants to say hello or give it a shot. I don't know.

Hello?

Hi there, Christopher.

Can you hear me?

Yes, we can hear you.

You can hear me? The signal's good enough?

Yeah, yep.

Oh, that's good. The signal's been— the signal's been off and on lately, so I've, uh, had a lot of issues with it. Um, I really don't know what to share. Like, I'm just really more just saying hi and saying thank you for, you know, just having me here. This is pretty awesome. I like hearing everything. The last day I was here, like, it was the opening night, and a lot of the stuff that I heard, like, especially about, like, Buckminster Fuller, like, my mind was freaking blown. So I basically, after I turned my camera off, turned Tried to go to bed. I just I sat there with my mind vibrating for hours and just you know trying to get to sleep. So yeah, like actually I would actually also like to talk to that have a conversation with that sacred geometry guy. What was his name again?

Harlan. We'll make a connection for you.

Can you hear me?

Yeah, Harlan.

Okay, Harlan.

Well, okay. Yeah, cool.

I'll make sure I connect you guys. Yeah.

This piece that I'm— Cool, because yeah, this piece, I've like, I already have plans to put geometry into it, but as to what geometry I want to put into this piece would actually kind of be dependent upon what we talk about in that conversation as well. So yeah, that'd be, that's definitely cool. I don't know, can you see what— no, you can't really see what I'm working on. Kind of, Ken.

Yeah, it's hard to see right now.

It's, uh, yeah, it's pretty hard to see. I probably have to just, uh, upload a screenshot or something like that some, uh, some other time when I get a little bit more, uh, further with it.

Christopher, Christopher, this is Mark.

That's kind of really all I have to say at the moment. Yeah, yeah, I'm just curious.

Yeah, I'm just curious, your, your drawing, is that something that you started During this, or is this just something you're carrying and working on that you've brought from elsewhere, or is this relevant to what you're doing here?

Well, this I started actually drawing the first, uh, on the opening night. This is more relevant to what we're doing. Um, it's, it's on the more spiritual side, but I do want to add a bit of technology into the picture as well. Um, and yeah, like I, like I said, I started it during During this, and I'm pretty much, pretty much I'll only be working on it during the time that I'm here, mostly because in the time that I'm not here, I have a graphic novel that I'm trying to complete ahead of me for that one. So yeah, I'll be mostly working on that.

Christopher, I just I just hit mute, Christopher, because you were breaking up. Um, so give me a thumbs up that you're cool if we just, if we just let it go there, because your, your, your thing was breaking down. Just so you know, I wasn't, you know, being disrespectful, man. Awesome. Cool. Great, Christopher. Thank you so much. We'll catch up with you the next time. And obviously, well, I'll tune in with you on a one-to-one at some point too. We haven't— Christopher and I just met through Facebook. So let's just, just to be clear, The beauty of Facebook, let's be honest. Like, let's be at least intellectually honest. We all know we want to get off of it. We all know it's not the most appropriate thing, let's say, or technology that we could be using for our highest aspirations. At the same time, I wouldn't be talking to Christopher right now. I wouldn't be talking to Mark. We met on Facebook. I met my wife through Facebook. So I've got to get a little bit of love on that sense to the evolutionary step that is and was Facebook.

And let's be thankful for the gramophone too. While we're at it, there's so many inventions along the way that have gotten us here, right?

Was that a leprechaun dig? Like, I don't know, I just, just came to mind.

It just seemed like, gosh, there's so many things I can think of along the way. I know I wasn't around for the gramophone, and I'm not going to ask anybody else if they were. But, um, I do remember, as a matter of fact, it's pretty interesting. I do remember a friend of mine as a kid, his dad worked for IBM, and he was selling, um, the recording machines for dictation right when it was the beginning And right when it went from wire recorders to a really wide band of magnetic tape, and, um, we got to play with those as kids, and the, the wire recorders just boggled my mind, the, the steps that we've taken to be able to beam, right?

Yeah.

When all along, I think we had the capabilities, it's just we've kind of Forgotten, maybe, or we're out of tune, or we're just— the cacophony is too loud, and there's just too much noise to get to the signal? You tell me.

I don't know, that was just like a classic moment to me. I've got an idea. So, we're gonna start winding down eventually. It's been 2 hours. Mark, are you good for like another 10, 15 minutes? How are you feeling?

Yeah, yeah, I'm just— it's really been a long day. The idea of weaving story in real time, living in real time while we're talking about all these different other presences of mind and different places in time, I'm good, but I'm wearing thin.

Okay, um, here's what we're gonna do. We are going to, uh, if you just bear with me for a second, just bringing up a screen share. So in a second. All right. So first of all, I'm gonna ask everyone who wants to contribute to open their mics in a second. This is gonna be a group conversation. For 5 or 10 minutes. So please be mindful of how long any one of us speaks so everyone has an opportunity. It's more about the flow of a little bit of a dialogue compared to any one person dominating, but it's a way to also open up and hear Dan's voice and Dean's voice. And if Christopher's able to get a decent signal and he wants to come back, he's more than welcome to. Janica, Arie, Harlan, if you happen to be there. What I'm going to do is I'm going to bring this image up. And this is an image of a card that's part of something called X the Game that a friend of mine, Jay Udis, has an innovation. And on Friday, we're going to play this game live in support of my project with 7 of us while people hold space and while people create art. But that aside, we're going to use this image as inspiration, right? It's going to have words on it and it's going to have an image on it, and we're going to use it as a talking point, as synchronicity. So let me just— Make sure my— let's see if it—

Brett, while you're setting that up, I'm going to reset the room a little bit as we get ready to close out the show with this experiment of mind. We are here beaming Regenera. You're with our Brett Minister Full of It and the Leprechaun Kin, and, um, we are beaming from the heart of the Regenissance. And this is an event, a festival happening all week long And you are welcome to come and join us. As a matter of fact, there's sessions going on right now. As a matter of fact, let's see, the Burners— no, wait, the design— it's the Living Systems Collaboratory right now is sharing Olivia's work. There's 144 artists that have stepped on board Regenera for this 10-year journey into the Design Science Decade that we're all venturing out to.

Let her rip, Bret.

What a perfect card we have. So in X the Game, there's 3 kinds of cards. There's a life circle card, a challenge card, and a relate card. This is a life circle card, which you would pull at the beginning and the end of any specific game where you're manifesting an intention or supporting someone or going through a process. So what you do is you use the words, the images, the colors, anything that you, you would relate to them, or you would make a challenge. Today we're gonna, I think, just stick with relating. So speaking of Terence McKenna, by the way, it looks like we have a big mushroom here beaming up the X the Game player. I mean, this is my interpretation, it's to be interpreted by anyone. So the words on top of the card, if anyone can't see, says dream-myth-reality for Mark's mythos. And then on the bottom of the card it says share one in detail. So dream, myth, reality, share one in detail, and then you've got the image and the colors. So would anyone like to relate to this image in some way as a point of jumping off a springboard for some— for 10 minutes of stream of consciousness? I'll start if no one feels called. No? Okay, let me go. So when I, when I see this, I actually think of Spaceship Earth. So in my project for the Design Science Studio—

Can you hear me?

Yeah, who is this? Yeah, Christopher. Yep, go ahead.

I do. Can you hear me or not?

Try— give it a shot.

No, he's not coming in clearly at all. It's such a delay. Sorry, Christopher.

Okay, yeah, okay. Sorry about that, Christopher. It's, yeah, it's having a massive issue. All right, um, was there anyone else that wanted to relate to this image in any aspect of it? I, I certainly could, but I'm just gonna— I will pop in. Peace. This is— there's— can I be heard?

Yes.

Okay, I stand in the middle, or I float there. Time is at my control, my observation. Between that which is above and that which is below, I have an opportunity to create my dreams, my myths, and my realities. As I share these, I give substance to their being, and through my consciousness, In agreement, I bring him into physical manifestation as we have completed this decade of peace and the 40 years that I have been waiting to be able to re-energize with this mission that was given to me 20 years before the 40.

Peace.

Nice, Dean. Thank you.

Thank you, Dean.

Oh, the great mythos, that mythic operating system that we so eloquently trip through. And you can take that word a multitude of different ways, you know, speaking of McKenna, or just like falling down and having to pick yourself back up, right? So that's the dream, that's the reality, that's the mythos. That's the one detail that we need to hold on to, that thread, all eternity.

Beautiful. So when we play X the Game on Friday, by the way, you'll see that when people relate to a card, then we will pull another card to keep the relating going and keep the— we don't just stick on one card. We're not going to do that today, but it creates this chain of Unbelievable synchronicity. Jay has created these different images that are just magically like a random number generator, quantum, quantum mechanics, and we're going to all be able to create our own decks, and, and it's going to be a really fun day on the first hour on Friday. Um, so when I see this image, I think of Buckminster Fuller, you know, calling this planet Spaceship Earth. I think of our Bretminster Fulovit and the work that we've been doing. Where we've upgraded Spaceship Earth to the Together UFO. And UFO stands for Unnameable Universal United Fractal Organism, because spaceships are kind of like a little bit old now. We can, we can upgrade even that version of our language, I believe, to this universal united fractal. The world was round— flat, right? Then it was round. But really, it's holistic, it's fractal, it's wholes and parts, uh, potentially, potentially. I'm not saying it's that way, but potentially to be more even accurate to our experiences and our perceptions. It's like this united fractal organism, and it's a UFO, and it's fun, right? We're gonna all co-create these UFOs because the only way, Mark, to go into inner space, into the next regeneration. To boldly go where no co-creator has gone before is to build a fleet of united fractal organisms and launch ourselves into the spaceless space, into the timeless time that Dean was talking about, the zero point of eternal infinite awareness, where we can then manifest whatever beautiful reality and experience we want to co-create. And I just I love that this will be the image that will end this call, and I'm just going to call on Dean or Dan, if you want to just relate to anything any one of us has said and any more, just add any more richness, go ahead. Well, this image reminds me of the climactic scene of Stargate the movie before there was a show, where the bad guy is actually beaming up to the ship and he's taking off to escape, but the, uh, the good guys beam up a bomb and blow him up. Not, not a very deep philosophical answer, but that's what I think. That's okay, it's all good. I'm just gonna press the button and put into the chat the link to my project. I won't show any videos or anything today, but if anybody's interested interested in what I do or what I'm making or any of that, they should copy down that link and watch my show.

Hey, Bret?

Yes?

Can you hear me?

Yes.

Yeah? Okay, so I'm gonna blow your mind.

Blow my mind, go for it.

We're gonna end up the show with a backcasting trip straight to the center of the beam. Are you ready?

Yes.

Look at this image. What's happening? You see that image?

Let me stop my share. Yeah, there we go. Now we've got yours.

The title of that that's written on there, Multiple Journeys in a Single Moment Now, that was drawn in 1979. That was the effect of meeting you in a future unknown, but certain to be filled with a leprosy. And with that, my friend, I bid you adieu until we meet again.

Excellent. All right, everyone, I'm gonna, I'm gonna stick around and just play a few tunes, uh, just to kind of— I like to like let it go out with the music. Mark, thank you so much for being here. Feel free to just, uh, take off. I'm gonna— I'll say goodbye to everyone and I'm gonna just play a couple tunes because I like to have the video go out with some nice music that inspires me. I love you, man. Thank you.

Thank you. All right, everybody, we'll see you tomorrow. Come and join us. Check out regenera.art. There's that. Peace.

Thank you, guys. Yeah, thank you everyone so much. Thank you, Christopher. Thank you, Aria, for tuning in, man.

Go beyond this concept we know as time. I don't just wanna be happy, I wanna live with some peace of mind. With who I am at all times. Who I am at all times. So I think life, think love, think righteous. So lean deep, all in together, all about we, all we'll remember, 'cause it's all beyond me. All about free, so my spirit flow at ease. Light is beyond my pride, just to carry over to shine inside my life.

Who I am beyond the line. Who I am throughout the line. Who I am throughout the line. Who I am beyond the line you have, the line you have.

Maybe it was all the exception or a different perspective. Maybe I just had to learn a lesson, a confession, or get a sense of direction. Playing the game so limited simply was the process involved, so we suffered. Fathers failed lovers, covered and concealed, not revealed who we truly are. And through the light years, so many stories retold. But no matter how intense or the depth, nothing keeps the truth unexposed. Nothing keeps the truth unexposed. Nothing keeps the truth unexposed. Nothing keeps the truth unexposed.

Nothing keeps the truth unexposed.

My heart is free, no confusion now.

I feel everything that I'm choosing.

I see, I understand love.

In a mind far beyond all space and time, a phenomenon lives ever crystallized. Thought victimized in the infancy, love always rules. There is no other dependency. Exposed how my throne stayed aligned. Just to open up so that a storm may arise. Maybe I could catch it, maybe I could spare the pride. Humbly in greatness, I'm no longer surprised. Rise in the mind, I don't have to jump ship. Living what I'm not holds moles that don't fit. How does it exist? It's something like an art. Only way to shift it, either know it's art. Why? I just wanna live my life knowing that I'll be alright. I just wanna play with my heart still major. Play for creation.

Creative nature.

Never meant to feel pain, so I danced when the rain came. All the stories and the change, worth it every time. Never meant to cause pain, but it still served in my mind frame. All the roles we had to play, still living, loving life.

I see myself in the mirror, loving the money, flexing, flexing.