/////////////////////Perpetual Crisis & Design for Obsolescence

Poster

2011-10-03T13:00:00.000+01:00

Poster

2011-10-02T10:30:00.000+01:00

2010-01-08T14:33:00.001Z

2010-01-06T15:30:00.006Z

Slough has a rich history of brick making and brick fields.

The previous Borough of Slough used the arms below, granted on September 3, 1938:

As in the new arms the swan stands for Buckinghamshire, the the flowers for the horticulture in the borough. The brick-axes refer tothe brick-making and the sign of Uranus is from the arms of the family of Herschel of Slough, and relates to the discovery of the planet Uranus by Sir William Herschel.
The supporters are the gods Mercury and Vulcan and symbolize trade and industry.

Literature : Images and information provided by the Slough Library (AlisonD@sloughlibrary.org.uk)

I want to use the industrial connections I’ve made to produce a brick-making press or extruder (manual and/or automatic) that produces unfired bricks.

The concept is to emphasise the intelligent use of technology applied to an ancient method of building. This goes back to the relationship between the Progress and Regression I raised in my dissertation.

(iii) Umbrella theme of ‘design as the connections between things.’

The localised, cyclical relationship between a dug foundation and the clay soil used to make the bricks that builds the house. This microcosm of industry will be reflected in the way my brick making device is manufactured; namely locally, joining neighbouring processes, suppliers and materials together.

A locally produced brick press will be used to produce bricks onsite, reducing energy of transportation, firing, and waste materials in landfill. It also means that the lifecycle of the raw material is still intact and the process becomes ‘closed loop.’

A reconnection between the activities of brick making and brick laying which have been separated through industrialisation of the process over last 150 years. This localised brick press device could have ramifications for the tools used to build brick constructions and for the corresponding architecture. Perhaps there is scope to develop these designed languages as part of the project as well ? (time permitting).

(iv) Other considerations:

Sustainable context. Sustainable Slough;

This project will emphasise the sustainable credentials of a hi-tech trading estate powered by a renewable power station that creates a device for producing local bricks that don’t require firing.

Many thanks to Dr. Andrew Heath for his insight into Unfired bricks and construction.

I visited the 'Centre for Innovative Construction Materials' at Bath University to learn more about the different means of pressing and extruding bricks. I also learnt more about the various mixtures and binders the students are working on in the Civil Engineering workshops.

Extruded unfired clay brick on the market current. This is passed through a heavy industrial extruder that use vacuums to compact the material further.

Experimental mixtures and billets for testing :

Various binding fibres are used including hemp spiv.

Older manual press for compacting and pressure testing:

2009-11-16T17:20:00.005Z

Modular Book Shelves For :

THE BIBLIOTHEQUE DU CENTER AERE

The Bibliothèque du Centre Aéré (BCA) collect books of interest that are out of print or missing traditional distribution channels. The collection comes in the form of facsimiles available on-site consultation, on loan and also in exchange (cons another book that may interest us). This choice of cheap facsimile instead of 'precious' originals de-dramatise the 'precious books reading approach'. And more practically, allows us to let the Library live by itself without inviligating. We count on the reader, the deal is in its hand, stolen items are replacable. Taking advantage of its facsimile situation, TheBibliothèque du Centre Aéré is obviously multiple, transportable and can be physically located in several place simultaneously (galleries, bookshops, events, or in a tree,...)

The Bibliothèque du Centre Aéré is in continuous extension, so potentially infinit. Which mean, that the BCA Furnitures (the one you will design) are the windows openned on this imaginarly bigger library. They house from time to time, from place to place, a selected sample of the Library. It's in a way like an small exhibition space (but a space to place in another space). A kind of miniature theater that belongs to the world of books and libraries. It calls on books, mostly (but book shelves houses sometimes other things). It's a space to curate around books. Another thing: A library catalog will be Published regularly.

THE BCA CLASSIFICATION SYSTEM ( The Curator constraints)

As every library, the BCA has a classification system to index and organize the library materials. It was born of the need to find an alternative to Universal Decimal Classification (UDC) used in most libraries of the world. The UDC favors archiving. It distributes books in hierarchical and absolutes classes that cover all the knowledges. On the contrary, the CAC (Centre Aéré Classification) is a relative system that promote transdisciplinary research. Due to its structure, it can not classify all knowledges and is limited only to those entering the Library. This system is intentionnaly designed to emphasizes stray, wandering idle and random cross disciplinary discovers. It also prevent an overview of the library to potentially extend it to the infinite.

2009-11-11T10:00:00.002Z

Ceiling Storage for hoarders:

2009-11-10T19:56:00.009Z

I went to Chichester to speak to Will Davis about his plastic extrusions factory. I wanted to understand the extrusion process better and talk through technical details of the process from the dies, to the temperatures involved, etc. etc.

2009-11-09T22:53:00.003Z

I've been looking at a freestyle form of plastics extrusion... more to follow...

Could coiling add strength to extruded parts?

2009-11-09T22:50:00.001Z

Big Cain for Catenary Arch Project (?)

2009-11-05T12:46:00.001Z

The Vinyl Factory Manufacture from thevinylfactory on Vimeo.

2009-10-26T15:44:00.027Z

We have been imagining the city with Zero Energy. What would we make? how would we make it? and how would our lives change?

I wanted to look specifically at the use of unfired London Clay. Having seen vinyl extrusions I was keen to try to extrude London clay into shapes for construction in an energy depleted city.

Historically brick making using the city's rich supplies of clay thrived in areas such as 'Brick Lane' since the 15th century.

Historically the volume of foundations cut out for a new house would have been sent off to make the 'london bricks' that would have built the house. I love this symbiotic relationship between local waste and re-use.

I went to the RIBA Library to research extrusion-like construction techniques.

These include the CINVA Ram for local brick making (video below), and soil filled bags that are compounded into strips and laid one on top of the other.

Dig from one end... Extrude from the other

Hydraulic Extrusion Spade from George Fereday on Vimeo.

Flip Mechanism on Spade head from George Fereday on Vimeo.

A FEW OTHER EXTRUDERS...

Anish Kapoor Extrusions, Royal Academy, London.

Anish Kapoor Extrusions, Royal Academy, London, 2009

Source: makeitdo.wordpress.com

It would be nice to be able to extrude structures and shapes without a mould. To be able to have a hand held extrusion device that extrudes material you could direct in the same way icing is built up on a cake.

An example by Tom Dixon :

“Extruded” chair, 2007
Extruded PETG plastic. 32 1/2 in. (82.6 cm.) high Hand-made by Tom Dixon, UK. Number two from an edition of 12.

Source : http://www.chairblog.eu/category/chair-designer/tom-dixon/

2009-09-14T15:18:00.006+01:00

Vinyl Press from George Fereday on Vimeo.

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VINYL FACTORY & VINYL EXTRUSION
**********************************************************

Vacuum Pugmill Extrusion

2009-09-11T16:17:00.001+01:00

2009-08-03T12:04:00.013+01:00

Last week I was at Phoenix School in Hammersmith working at Design Camp 09.

I was assisting designer Ben Wilson, teaching pre- GCSE school children how to build and customise a wooden scooter.

Ben's design was intended to show the children the breadth of possibility in design using standard items like broom handles, door hinges and 2" x 2". The classes also kept the students abreast of modern trends in technology like the CNC routing used to manufacture the scooter wheels.

Design Camp 09 - Phoenix School, Hammersmith.

2009-05-17T18:10:00.001+01:00

I'm interested in the notion of individual structures being under 'perpetual crisis' in themselves.

Structures that are in constant stress and under continuous pressure.

Whilst I want to continue to use materials that inhabit our immediate environment I aim to shift away from clothing, towards the fabric of the buildings we inhabit instead... in this instance plumbing.

2009-05-15T15:53:00.010+01:00

I'd like to use uPVC tubing to build pressurised structures with. Through our understanding of the materiality of plastic, it would be much more unusual to find large, unsupported spans of this material, as opposed to the copper tubing below:

2009-05-15T15:32:00.012+01:00

Compressed Copper Tubing from George Fereday on Vimeo.

Testing the load bearing capability of the pressurised span of 15mm copper tube.
In increments of red brick.

2009-05-15T15:30:00.001+01:00

2009-05-15T12:22:00.003+01:00

Crisis Shop Sold Out, Milan Salone 2009 - Invite

2009-05-05T16:50:00.006+01:00

Gardner's Market Sundriesman.....amazing dickensian shop. Long live East London.

3000 Photocopied Stickers

2880 Business Stars = 11Kg

Wanted to have a business card that wasn't 'run of the mill' and fitted in with the Crisis shop theme. Went for bright pink 6" market stall stars. 2880 of them bought at Gardner's in East London. A family run Market Sundriesman for the last 150 years!

Gardner's - Market Sundriesman, 149 Commercial Street, London.
Tel. 020 7247 5119

2009-05-05T16:49:00.005+01:00

Crisis Shop Sold Out! ///////////////////

Exhibition Catalogue, Page...by...Page

Graphic Design by Xavier Antin, CAAD, Royal College of Art.

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2009-04-29T22:07:00.006+01:00

2009-04-29T21:31:00.011+01:00

///////////////////////////////JAMIE & I

HANGING THE T-SHIRT CANOPY

Hanging the T-Shirt Canopy from George Fereday on Vimeo.

2009-04-29T21:30:00.002+01:00

///////////////////T-SHIRT CANOPY

To consume and occupy the tough, polished surfaces of the Seves showroom, I wanted to create a soft low hanging canopy. This was intended to enhance the sense of closeness in crisis that a lot of our projects has focused on.

x 88 White T-shirts, cut open & re-stitched (35 kgs cotton)

x 5m Velcro

x 3 Sewing Machines

x 3 Days

x 1 seamstress mum

2009-04-29T08:59:00.006+01:00

2009-04-28T00:47:00.014+01:00

My crisis article featured in "The Incidental",

the British Council's daily newspaper for the Milan Salone 2009.

2009-04-27T23:31:00.019+01:00

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2009-04-12T21:37:00.015+01:00

I have worked closely with Communication Art & Design first year, Xavier Antin

He has devised the Matrix font, Crisis Flyers, and other graphic Identity that will promote our show.

Together we printed these on his Spirit Duplicator Press after we both typed out the Carbon Masters.... See videos below.

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Graphic Design for Crisis Shop - Sold Out

By Xavier Antin, CA&D, Royal College of Art

xavier.antin@network.rca.ac.uk

Typing Carbon Masters for Crisis Shop Signage from George Fereday on Vimeo.

Spirit Duplicator from George Fereday on Vimeo.

2009-04-12T21:36:00.003+01:00

Xavier and I, drawing out the line drawings for the Crisis Shop Poster

Crisis Shop Flyers printed on the spirit duplicator, cut to A5 by hand.

2009-04-12T21:35:00.004+01:00

I went to collect x 1000 Crisis Posters from Aldgate Press. The overfilled suitcase seemed particularly fitting for the Crisis cause.

Crisis Posters Printing - Aldgate Press from George Fereday on Vimeo.

2009-04-12T21:34:00.002+01:00

Needed to find a way to maintain a sense of continuity between the very different products to be shown in the crisis shop.
Wanted also to invoke a sense of temporariness and mobility.
These wallpaper paste tables represent all of these qualities. Fold able, Light, generic and easily transportable.

2009-04-12T10:09:00.014+01:00

Seves glassblock Showroom from George Fereday on Vimeo.

For the past 3 months I have been curating and coordinating Platform 10's exhibition for the Milan Furniture Fair 2009. Crisis Shop - Sold Out!

The 14 postgraduate students from our Platform 10 teaching unit ( led by Daniel Charny and Roberto Feo), were asked to produce retail pieces for exhibition in response to a brief to "look at strategies for coping with crisis."

Above, is a video of the Seves glassblock showroom we will be occupying with our Crisis Shop.

PRESS RELEASE - WRITTEN BY MY GOOD SELF:

Icon Design Trail - Featured

2009-04-10T16:36:00.006+01:00

Crisis Shop, Sold Out ! @ Seves Glassblock Showroom, Milan Salone, 22nd - 27th April 2009

www.platform10.co.uk

info@platform10.co.uk

Domus Magazine - Crisis Shop, Sold Out!

2009-04-10T16:23:00.007+01:00

Crisis Shop, Sold Out! @ Seves glassblock showroom, Milan Salone, 22nd - 27th April 2009

www.platform10.co.uk

2009-04-09T23:48:00.015+01:00

This series marks my first use of the 'Perpetual Crisis Manifesto' whereby, each solution to problem must cause the next crisis situation.

Starting with a hole in my trouser pocket I cut my shoe in half to make new, tougher, leather pockets. The result ? I must embroider new shoes onto my exposed socks.

2009-03-01T16:40:00.001Z

Technorati Profile

2009-02-16T01:11:00.000Z

Here a bicycle valve has been attached to the underside of the trispherical (?) volume to test its air-tightness.

When inflated the geometry is partial self correcting as the internal pressure is even throughout.

2009-02-16T00:07:00.000Z

Enlarged the original paper model on the photocopier to create a template for a bigger version of the trispherical (?) volume.

2mm Rubber sheeting and Gaffer Tape.

2009-02-15T23:49:00.000Z

http://farm1.static.flickr.com/206/442791058_e33f70ed1f.jpg

The geometric shapes I had been trying to produce were almost identical to Japanese riceballs. Top chef A.Z.U.S.A. tells me these little beauties are formed naturally by patting rice in the palms of the hand to compress it.

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The above images demonstrate the interlocking flat shapes that in unison, create the volume.

Bottom

Top

2009-02-15T22:10:00.000Z

This entry represents a continuation of my interest in the geometric space surrounding three interconnecting spheres. Using squash balls as my last, I made the paper model below...

I found this was the only way to work out the flat geometry of the volume I wanted to create.

It felt like tailoring cloth to fit a shape rather than a logical exploration of mathematics.

2009-02-15T21:52:00.000Z

Car Innertube, Second Phase of the gluing process.

With the two ends already glued all that remains is the underside of the central seam.

Fingers crossed in two days it will be airtight.

2009-02-15T14:44:00.000Z

Having looked at the torus or space surrounding an inflatable sphere (tennis ball), I'm now also interested in exploring the geometric space surrounding three interconnected spheres.

This configuration proves highly stable (in a crisis of gravity) and self righting from almost any angle.

This configuration speaks of the same interlocking language as that of the two equal halves of a tennis ball.

DISCLAIMER - SHOWN STRICTLY FOR MY OWN EDUCATIONAL PURPOSES ONLY.

Mars Pathfinder Lander Airbag, Prototype

Developed by ILC Dover, Inc.

Jet Propulsion Laboratory and NASA U.S.A. 1996

Plain Woven Vectran® (liquid crystal polymer) layers, some with scilicone coating for gas retention.

Image: ILC Dover, Inc.

Web source :

http://cooperhewitt.org/exhibitions/extreme_textiles/site/index.htm

2009-02-15T14:23:00.000Z

Cut and re-glued car innertubes. Work in progress.

Special Inflatable boat adhesive from Polymarine Ltd. Requires 48hrs to set.

Expandable rubber seams fashioned from cut bicycle innertubes.

2009-02-15T13:59:00.000Z

3D Rendering of Broken tori symmetry.

These images represent the rearrangement of six cut and re-glued car inntertubes creating a crisis communal seating / floatation platform.

2009-02-15T00:16:00.000Z

Car Innertubes from a 1969 Volvo Amazon

'Designing for obsolescence' was in mind when I decided to look at the modification of car innertubes. With the dominance of single skinned inflatable tyres, innertubes are only used in the second hand and classic car markets.

These Butyl rubber innertubes are also completely un-recyclable adding to their contemporary redundancy and obsolescence.

By folding, cutting and re-joining the geometry of the 'torus' shape, can we create new typologies for this unique product?

2009-02-14T10:27:00.000Z

Before and after....Deflated & Inflated Airtight Nylon Flange Test

2009-02-14T10:16:00.001Z

Airtight Nylon Flange from George Fereday on Vimeo.

2009-02-14T10:05:00.002Z

I'm interested in cutting and resealing innertubes to build larger inflatable structures.

This was my first attempt at machining a nylon flange that would be airtight and lightweight enough not to disrupt the flow of the rubber shapes produced.

2009-02-14T09:40:00.000Z

Wanted to get familiar with the capacity of compressed air a regular exercise ball could handle.

This 20" ball took half an hour to inflate with a hand pump.

For my larger inflateable constructions an electric pump that fills and perfectly deflates the structure will be a strong consideration for rapid "set-up" and "take-down."

2009-02-08T12:47:00.001Z

Bounce test from George Fereday on Vimeo.

R U B B E R R E S E A R C H

2009-01-21T12:11:00.000Z

Research into synthetic and natural rubber properties looking for the lowest gas permiability and other characteristics suitable for inflation.

Advice and Email from of Nick Crosbie of Inflate ltd.....

http://www.industrial-rubber.com/iqs/sid.04589940078416728106728/Industrial_Rubber_material_selector.html

2009-01-16T16:23:00.000Z

http://mathworld.wolfram.com/images/eps-gif/ConnectedSumMultiTori_1000.gif

2009-01-15T00:47:00.000Z

http://farm1.static.flicr.com/20/69393351_a222f4151c_b.jpg

http://farm3.static.flicr.com/2180/2338369715_1e7d90dbab_b.jpg

http://farm3.static.flickr.com/2324/2269118779_030737d08f_b.jpg

The next stage in this process I will be tackling structures that are inflated.

Having worked with the pressurised tennis balls I want to mimic their inflated properties and project them onto new typologies.

• Large scale and interlocking pressurised structures made from various sized rubber innertubes (now obsolete in the car industry)

•Cross sectional cutting of tube sections and rebonding

•High frequency welding of rubber seams

•Intergration and symbiosis with tennis ball felt broad cloth felt.

2009-01-14T18:00:00.000Z

2009-01-14T17:32:00.000Z

Went for some advice from chair caner, Kevin Hubbard.

He seemed to think that the project was possible but would require very accurate jigs to make sure the hub if the wheel was dead centre.

The caning might need extra support in the form of a bio resin. The idea being you recreate a biological version of resined carbon fibre.

Triaxial Carbon Fibre

2009-01-14T17:30:00.001Z

Sunny Memories 2009

These images represent my initial proposal for a solar project using flexible, Dye-sensitized solar cells. The proposal involved large circular sail like structures with their surfaces sliced to follow a spiral pattern.

Using a screw mechanism behind the panel these solar sails could be deployed, expanded and adjusted to different angles depending on the position of the sun. On the façade of buildings they might also act as sun shields for the occupants within.

After development of the spiral shape proved too problematic, I altered the concept towards use on cars. A foldable solar sun shield could be unfurled at times when the car is parked in a sunny spot. This would charge a series of batteries that might top up an electric vehicle whilst it is not in use.

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2009-01-13T00:56:00.000Z

I looked at the history and contemporary uses for felt.

It has been produced and used in Persia for many thousands of years.

Isfahan in modern day Iran is a site of production where traditional shepherds coats are still made and dried in the sun.

Seamless felt hats and boots are also made in Central Asia and Scandinavia.

With my sample of tennis ball felt I wanted to produce a felt shoe out of two interlocking pieces that might mimic the lozenges found on a tennis ball.

2009-01-13T00:27:00.000Z

The kind management of the Lodgemore Mill showed me the finishing stage of the manufacturing process where the raw , woven and undyed felt is brought to be finished and shipped to tennis ball factories in America and Indonesia.

There are about 10 finishing processes in total.

2009-01-09T12:59:00.000Z

Lodgemore Mill, Stroud

Working with the structure of a dismantled tennis ball proved problematic due its stubborn resistance to manipulation and its keen retention of shape.

Whilst I felt I'd learnt more about the form as a whole, I wanted to intervene and manipulate the constituent materials at an earlier stage in their development... pre-tennis ball as we know it.

The felt for most of the world's tennis balls is still made on an historic site in Gloucestershire where they have been milling, fulling and weaving similar woolen cloth since the 1400's.

2009-01-09T12:50:00.000Z

2009-01-09T12:36:00.000Z

“Perpetual crisis” led to the notion of “No time for games” or the beginning of the “Game Over” series… an interest in the subversion or inversion of redundant sports equipment that could serve a new purpose.

Looked specifically at the structure of Tennis Balls.

How can the tennis ball and its constituent parts be reinvested to create new typologies out of the existing materials?

Having cut a tennis ball in half I was keen to use its waterproof and symmetrical properties in the form of a hat.

This led to interest in the qualities of the fluorescent tennis ball felt itself.

How could I intervene earlier in the production of a tennis ball in order to make better use of its constituent parts?

I looked again at the history of felt which dates back to 6,500 BC.

It is fascinating the way a material can retain a relevance and use from 6,500 BC to the present. How can I make reference to this span of history in the modern felt interpretations that I will make?

History

"Felt is the oldest form of fabric known to mankind. It predates weaving and knitting, although there is archaeological evidence from the British Museum that the first known thread was made by winding vegetable fibers on the thigh. In Turkey, the remains of felt have been found dating back at least to 6,500 BC."

Manufacture

"Felt is made by a process called wet felting, where the natural wool fiber is stimulated by friction and lubricated by moisture (usually soapy water), and the fibers move at a 90 degree angle towards the friction source and then away again, in effect making little "tacking" stitches. Only 5% of the fibers are active at any one moment, but the process is continual, and so different 'sets' of fibers become activated and then deactivated in the continual process."

This "wet" process utilizes the inherent nature of wool and other animal hairs, because the hairs have scales on them which are directional. The hairs also have kinks in them, and this combination of scales (like the structure of a pine cone) is what reacts to the stimulation of friction and causes the phenomenon of felting. It tends to work well only with woolen fibers as their scales, when aggravated, bond together to form a cloth.

2009-01-08T14:47:00.001Z

The Myth of Progress in Design

“History is not an ascending spiral of human advance, or even an inch-by-inch crawl to a better world. It is an unending cycle in which changing knowledge interacts with unchanging human needs.” Pg3, Heresies, John Gray

“The core idea of progress is the belief that human life becomes better with the growth of knowledge. The error is not in thinking that human life can improve. Rather, it is imagining that improvement can ever be cumulative. Unlike science, ethics and politics are not activities in which what is learnt in one generation can be passed on to an indefinite number of future generations. Like the arts, they are practical skills and they are easily lost.” Pg4, Heresies, John Gray

Unlike the pragmatism and logic of Science and Mathematics, the act of ‘design’ does not have a certain outcome or a carefully predicted incarnation. It is a profession tempered from uncertainty and perpetual failure. It is one of the few professions were successive failure is seen as a positive outcome. It is our responsibility to fail so that the relationship between factual knowledge and human hubris does not spell catastrophe for civilisation in a broader context.

Designers deal with fictitious ‘deadlines’ so that physical, moral and political dead-lines in the real world are not crossed uneducated and ill informed.

Designers exist solely via the simple structure of crisis in which solutions, manipulations and incarnations counterbalance perpetual problems, challenges and obstacles.

We are the mediators of fact that regurgitate inarticulate laboratory knowledge into legible three-dimensional translations.

The majority of ‘designers’ are not inventors or innovators, they are alchemists, perpetually searching for a means to create gold from the bare bones of science. Designers appropriate scientific fact and mediate this immaterial knowledge in such a way as it can perform a practical function to both the ‘user’ and big business.

We represent the lens of elucidation through which science and technology are simultaneously projected back onto the human body.

Contemporary design inhabits a fascinating realm of duality; representing the best human endeavour and the worst human folly. Too often design conflicts with the teachings of science, which dictate the finite parameters of our future as a species. It could be argued that design perpetuates an industry only for itself, producing irresponsible products for conspicuous consumption that actively block and contradict the learned progress of scientific thought.

Successful design of the future must lift the veil of mystery from the science and technology that represents a very real and surging progress in today’s society. Design has a moral responsibility to translate their respective benefits into functional applications that can personify the real progress of our species.

The problem we face in design is the crisis of uniting the polar and fractured endeavours of science and socio-political life. Design must bridge the gap between the marching advance of factual understanding and the tidal, uncertain nature of human behaviour and interaction.

It is up to design to produce the framework across which the opposing spectra of scientific knowledge and human understanding can gel. In this sense, the moral responsibility of design since the industrial revolution, has increased ten fold. Where science increasingly tackles the nano scale we must also consider the macro social picture, without prejudice. Design is required to traverse and bridge the physical void between the tipping scales of awareness, perception and understanding.

It is our job to experiment with the volatile amalgam of historic knowledge, scientific progress and sociological perception at a time when these traditions are diverging more than ever before.

2009-01-08T14:25:00.000Z

Platform 10 Perpetual Crisis Blog

How can we turn a crisis situation into a positive opportunity?

The best way is to create a 'domino effect' or perpetual state of crisis.

By instinctively solving one crisis, your resolution could, in turn, create the next emergency situation that needs to be rectified.

Rather than trying to pre-empt a crisis situation with endless contingencies, it is far better to react immediately and creatively to the problem at hand.

By removing a sense of responsibility for the future in this way, unprecedented and novel outcomes can be generated from a perennial state of alert.