Transcending the physical limits of Einsteinian laws

Just as humans have broken through barriers we’ve previously thought to be insurmountable, so will we find a way to transcend the physical laws of gravity, space and eventually time.  In simplified terms Einsteinian law sets the practical physical limit for space travel at much less than the speed of light; the faster we travel the greater our mass and with a corresponding increase in energy to continue to accelerate. Yet in contrast we can send data at the speed of light without even trying, and have done since early last century.

Distant Spiral Galaxy NGC 4603, Home to Variable Stars

Ray Kurzweil describes a point in our evolution—it is closer than we think—when we can convert our entire consciousness into data (not just our memory), and, therefore, send it at the speed of light where ever we want. But if there is nothing out there to receive it, it will remain as data and continue on infinitely through the universe. If we do come to communicate with a similarly intelligent and advanced society light years away we could first send information and instructions on how to build a biological vessel for our transported consciousness to be downloaded to. We will find ourselves having traveled across space at impossible speeds for physical objects.

To me this sounds perfectly plausible and if it sounds plausible to us in our current primitive state then it will be much simpler in the future.

We have to unshackle our minds from the physical world, and limiting our thoughts to the current and immediately past paradigms. The universe is too big [yet another physical term?] for that. I think this is a way for us to comprehend the universe as infinite. With our minds shackled to physical ideals we cannot grasp the infinite; the best we can do is think of something so large we can barely comprehend it. To truly be able to understand the infinite we must release our maniacal grasp on physical ideals…all of them.

Branding the literary works of Authorial Groups?


Popular music is one of the few creative mediums where branding is used to market the work of a group of artists, The Beatles, U2, or Muse for example. People who have enjoyed previously released work from these groups will often purchase a new release, sight-unseen, because they know and love the “brand” of product the group produces. This branding has been used in other creative mediums. In cinema for example the latest “Tarantino” film is almost guaranteed to be well attended because the viewing public have come to know what to expect in one of his films. In the book industry many author’s work is branded more with the author’s name than with the subject matter of the specific book.

A good percentage of popular music releases over the past half a century have been from groups of artists and this continues to be the case today for two reasons. Firstly, the quality of work that can be produced through a collaborative creative process can be much greater than something produced in isolation, and secondly, that the branding of the product is an immediate and lasting marketing tool. Literary products have not embraced this collaborative approach to the degree that the music industry has. We do see products written jointly by several authors but they are marketed under both author’s names rather than an abstract group name.

Is the literary industry missing out on both counts? …I think they are!

In my “day job” I work collaboratively on creative design tasks and I know from personal experience over the past few decades that I could never have produced designs at anywhere near the quality the group has been able to generate, if I had worked in isolation.

When it comes to writing, I have worked in isolation on a large work of fiction for over a year and although some of the writing is of high quality the project is languishing. A few weeks ago when I first began to contemplate the notion of Authorial Groups I decided to seek out one or more writers to work collaboratively on this project with the object of forming a long term partnership where we could brand our joint literary works. I found this step challenging to take, considering the time and effort I have invested  already in research and writing for the work but I am convinced the end product will be of superior quality and has a better chance of reaching the people I intend it to.

The output from groups can also be higher in quantity due to the number of people focused together at the task of writing. This approach should lead to more regular and reliable releases too, which can only help to build the brand loyalty that will ensure the longevity of the process and the group.

In the same way a band leader, or existing band, will audition for new members I decided to approach a writer to work on a short piece of fiction. This on-the-job task may also help to materialise a collaborative writing process that could work for an authorial group.

So, I’ve engaged with another writer and we’ve agreed to collaborate on a short story to both flesh out the process of literary collaboration and group dynamics in writing.  For example, do we collaborate on the plotting and scene development only and then work independently, or do we continue to write as many fingers at the same keyboard, or simply write the text on a white board and transcribe it at a later date?

Trust is a key factor in any partnership, as well as being strong and confident enough to let your ideas to fall dead to the ground if they are not taken up by the group. Luckily I have worked collaboratively with this writer on other creative projects before and we have often joked about each others crap… sorry…outlandish and impractical ideas. In a way we already know how to work together creatively.

The process has started…