Introduction: Integrity

In the beginning, we invented posters, then papers, eventually radio and television, and then the World Wide Web and ‘search’. At every iteration it was the advertisers that found the cracks, the weird science, points of optimisation, be it impactful typography, jingles or popups to engage neurones, hijack attention and sell more widgets. Now it’s the curse of the smartphone. Forever connected to a data relay, deeply entangled to every move you make, every breath you take, perhaps the pusher of a grotesque attention epidemic. But where does this exploitation of personal space go next?

Advertisers gather like witches at annual conferences to exchange notes, discuss tactics, showcase their KPI’s and ROI’s and speculate on which nasty tricks and stinky spells to unleash for the upcoming seasons in their pursuit of your attention, and in recent times their favourite buzzword is ‘experiential’. That is to say, they no longer want you to just hear the evil, watch the evil, or scroll the evil… no the new strategy is to have you ‘experience’ the evil. The reason for this; it’s an untapped cauldron bubbling with potential, and the witches are ever desperate.

Elaborate witchcraft aside, over the past decades, engineered experiences have become increasingly popular across contemporary culture, with slick immersive installations in galleries and museums, and less-slick interactive experiential marketing campaigns from the witches. In retrospect, the growing trend is understandable as if done with some thought, experiential interventions ‘have the potential to evoke sensations, feelings, and imaginations, integrating individual experiences into a holistic gestalt’.

However, I’ve been on the inside of all this also for those decades both as a producer and designer, and while I can conjure said evocative gestaltism with stoic artistic integrity, the institutions, clients (and their budgets), have become predominately only concerned with footfall, reposts and other crude metrics of ‘audience engagement’, as a measure of their ROI’s. It is important to recognise that this trend has steered things into a distinctive commercial genre of its own, which for the purpose of this article, we can summarise as ‘Instagrammable experiential’.

Hunting for the Higgs Boson of the mind

Pains of my artistic integrity aside, I want to now introduce an area of exploration I’m calling Experiential Science. This is not a new STEM directive or an immersive method of learning science, no, this is the study of engineered experiences and interventions, and specifically their transformative potential upon the senses.

In the field of Experiential Science, the goal is to go beyond the scope of Instagrammable experiential and to explore modes and methodologies of triggering moments of enlightenment in us humans. This remains undefined territory for me, but by ‘enlightenment’ this can be best compared to descriptions of the ‘overview effect’ as recorded by astronauts while peering down on, or returning home from outer space. This can also be likened to other Western depictions of Enlightenment in history such as those of the post-Copernican Enlightenment Period, and to add to the mix, elated depictions of ‘peak experience’ and ‘self-actualisation’ as more recently explored by Abraham Maslow.

In a sense this is the particular exploration of undiscovered human perspectives and perceptions, and for the purposes of my work, a particular interest in capturing comprehensions of ontological existence, or hunting for the Higgs Boson of the mind.

The most ancient science

This is by no means a new hipster science. Contentious origins aside, Stonehenge appears to have been engineered to amplify the human experience of the equinox. Similarly, the lesser-known Ħal Saflieni Hypogeum, an elaborate neolithic cave system in Malta, has chambers that have been intentionally fine-tuned to a specific frequency creating a specific auditory experience, as revealed by advanced archaeoacoustics. Bring this forward to the architecture of Roman coliseums, Elizabethan theatres, and 20th-century art museums, and the imperative of influencing human experiences through the engineering and constructing of multi-sensory environments remains an ever-present science.

In another field, there is the natural partnership between experience and learning. While the subject of experiential learning can be traced back to Aristotle, the process of learning through experience is also well-documented in societies such as ancient Egypt, Mesopotamia and beyond. In contrast to current Western didactic education, experiential learning is still recognised as a more holistic and natural approach to education, as embraced by philosophies such as Waldorf and Montessori.

It can even be argued that the innovation of experiential tools and spaces dates back to pre-language human intelligence. More specifically, to a point when humans began designing and innovating experiences purely to enrich and amplify practices of worship, story-telling and learning.

This brings us precisely the intersection of these ancient practices where I intuit that a remarkable and unimagined potential of Experiential Science lingers. 

Conclusion: The profound opportunity

With our ever-looming challenges of environment, inequity and conflict it is becoming clear that a new way of thinking, a different mindset, or a global sense of a collective consciousness might be our greatest deficiency as a species. This is a vast, complex and ever-contentious picture which I have begun to evidence elsewhere, but to summarise here; 

“Only a monumental transformation in human values and consciousness could hope to have the potential to rebalance a co-existence with Earth”

Through a lens of evocative gestaltism, I’ve identified a profound avenue to expand the boundaries of Experiential Science, delving into the uncharted area of exploring collective consciousness. Unearthing ancient methods of catalysing transformation already offers a rich landscape for rediscovering the essence of beauty, existence, and life’s purpose. Yet, when synergised with artistic modalities and immersive interactions, this fusion holds the potential to not only evoke perceptual shifts in our relationship with ourselves but also illuminate our interconnectedness within the world. However, this realisation, while promising in itself, is merely the first step in enacting the transformative potential.

Whether viewed as a curse or a blessing, the rapid emergence of advanced technologies that we are currently creating also stands as a potent enabler. In a flash, we now have unprecedented accessibility to knowledge, data, and technologies that were once either unimaginable or inaccessible. While this surge in accessibility is reshaping the foundations and conventions of society, it is simultaneously offering transformative tools and profound potential for creatives and the less conventional like myself.

Bringing together the potential of Experiential Science as the driving modality, fused with my unenviable background, and empowered by emerging access to advanced technologies in manufacturing and instantaneous global connectivity, the exploratory output of my work converges into a distinct focus. This focus is directed towards developmental research projects, artworks, and instruments engineered to unveil concealed and unknown dimensions of existence and purpose. By immersing individuals in transformative experiences, this work aims to reveal profound interconnectedness, inspiring contemplation, introspection and renewed perspectives.  This interest lies in exploring methods of triggering moments of enlightenment, which binds to the shared intercultural, interracial, intergenerational, and inter-everything commonalities of humanity. 

This is the profound opportunity, the transformative exploration and plunge into uncharted territory which will not happen through conventional ‘innovation’.  The pursuits outlined here necessitate a safe space for risk, a deep and embodied sensitivity and responsiveness to planetary needs, and rebellious acts of subversion. It marks the rise of a new variant of innovation, akin to a form of Punk Innovation, one that shatters conventions, propels a shift, and operates on its own unapologetic terms.

This is part 1 of a series of three articles:

1. Experiential science: Embracing ancient practices, advanced technologies and the vital emergence of a profound opportunity

2. Punk Innovation: Creative exploration and proposed axioms for modes of rebellious invention

3. Profound transformation: The case for a different mindset and why creativity holds the key

References

Experiential art Xu, A., 2020. Innovations in Art Through the Lens of Business Model Analysis and the Dynamics of Creative Industries: A Case Study of teamLab (Doctoral dissertation, Stanford University). Davidts, W., 2007. On Tate Modern’s Turbine Hall and’The Unilever Series’. Footprint Wiener, A., 2022. The Rise of “Immersive” Art. NewYorker.com Farago, J. (2015) Why museums are the new churches. BBC.com Hornby, L., 2017. Appropriating the weather: Olafur Eliasson and climate control. Environmental Humanities Mäcklin, H., 2021. A Heideggerian Critique of Immersive Art. Gatherings: The Heidegger Circle Annua Noë, A., 2000. Experience and experiment in art. Journal of Consciousness Studies, 7(8-9), pp.123-136.

Experiential marketing Zarantonello, L., Jedidi, K. and Schmitt, B.H., 2013. Functional and experiential routes to persuasion: An analysis of advertising in emerging versus developed markets. International Journal of Research in Marketing, 30(1), pp.46-56. Schmitt, B., 1999. Experiential marketing. Journal of marketing management, 15(1-3), pp.53-67.

Art and the Sublime Julian Bell, ‘Contemporary Art and the Sublime’, in Nigel Llewellyn and Christine Riding (eds.), The Art of the Sublime, Tate Research Publication, January 2013, https://www.tate.org.uk/art/research-publications/the-sublime/julian-bell-contemporary-art-and-the-sublime-r1108499 Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful, 1757, Part 2, Section IV. Kant, I., 2003. Observations on the Feeling of the Beautiful and Sublime. Univ of California Press.

Experiential learning

Kenderdine, S., 2010, July. Immersive visualization architectures and situated embodiments of culture and heritage. In 2010 14th International Conference Information Visualisation (pp. 408-414). IEEE. Kenderdine, S., 2015. Embodiment, entanglement, and immersion in digital cultural heritage. A new companion to digital humanities, pp.22-41 Kenderdine, S., 2021. Experimental museology: immersive visualisation and cultural (big) data. Experimental Museology, p.15.

Peak Experience Maslow, A.H., 1959. Cognition of being in the peak experiences. The Journal of Genetic Psychology, 94(1), pp.43-66. Maslow, A.H., 1962. Lessons from the peak-experiences. Journal of humanistic psychology, 2(1), pp.9-18. Maslow, A.H., 1971. Peak experiences in education and art. Theory into Practice, 10(3), pp.149-153. Stanley, C. and Wilson, C., 2019. Super Consciousness: The quest for the Peak experience. Watkins Media Limited.

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Innovation also lacks a big picture. While we might be inclined to pardon the post-war enthusiasm of the boomer generation, with its utopian visions of progress, the thrill of automobile-fuelled freedom on autobahns, and the tantalising promises of oil and new-age plastics, subsequent decades have exposed the unfortunate truth: this exuberance has culminated in a reckless surge of overindulgence and overshoot, an issue that was already articulated as early as 1972 by The Club of Rome’s “The Limits to Growth.”

The unimaginative classes – still mostly either directed by or heavily influenced by the boomer mindset remain entrenched in this haze, immobilised by lame policies and ideologies, transfixed on distorted perceptions of ‘growth,’ much like rabbits caught in the headlights. The prospect of a leap with any meaningful benefit to future life is in every sense, beyond the realm of imagination. Instead, terms such as ‘sustainability’ and ‘social responsibility’ have evolved into placeholders, offering an illusory sense of contentment and simulated virtue.

Hangovers of complacency (no future)

The punk movement emerged in the mid-1970s, as a response to the growing complexity, complacency, conformity, and consumerism that had begun engulfing society. It promoted a DIY ethos, advocating for self-sufficiency, a turning point in self-expression, and a liberation of independent creativity. Disturbingly, even the current state of industrial innovation still reflects the lingering effects of this complacency, and in my view, this is the backpfeifengesicht (a face that is asking for a punch) that the anarchic ingenuity of punk can gladly (metaphorically) take a swing at.

Mothers & forefathers of anarchic energy

Fundamental to the embodied spirit of Punk Innovation is a deep-rooted, hands-on acknowledgement of the complexity of entangled forces and the cacophony of the world. Punks intimately feel the pain and chaos and wrestle with the messiness first-hand. They have no time for conventional thinking and embrace a disruptive, proactive, non-conformist, creative, and expressive approach to exploration. Punk innovation is the necessary mother of invention which has been inherently understood and embodied by the neurology of creatives, rebels, and trouble-makers for centuries, often nourished by backgrounds in art schools.

These principles come alive through the examples of proactive mothers and fathers who have championed the ethos of Punk across history. Sylvia Pankhurst, with her groundbreaking strides in women’s rights, challenged entrenched norms and forged a path towards gender equality. Malcolm McLaren, together with Vivienne Westwood, harnessed the audacious spirit of Punk to ignite a subversive cultural revolution through music and fashion. 

Mahatma Gandhi repurposed the power of non-violence, wielding it as a potent tool for societal change against an oppressive establishment. John Lennon & Yoko Ono, leveraged fame, art, and music to craft platforms for peace and provocative thought, cultivating collective consciousness and transformation.

Linus Torvalds, by creating Linux, became an icon of technological innovation, infusing the anti-establishment, DIY ethos into the world of open-source computing, the vital spirit of rebellion central to the free software and ‘hacker’ movement tirelessly innovated by activist Richard Stallman.

Nicolaus Copernicus stood by his provocative ideas about our place in the cosmos, demonstrating the potential of unorthodox perspectives to spark a revolution and enlightening shifts in exploration and ontological understanding.

While you’ll likely struggle to find the conventions of history labelling these figures as punks, they all embraced the imposed and detrimental paradigms of their time, and rebelled against them head-on. Their anarchic energy not only bent history but has also forged immutable legacies of anti-establishment transformation, and arguably serve as guiding ‘can-do’ icons of action for paradigms to come.

Axioms of Punk Innovation

This article proposes four fundamental axioms or pillars for a bold rethink of how we bring ideas into the world. Through these axioms, the approach of Punk Innovation acknowledges the depth of predicaments, creates, models and invents without the constraints of convention. It comprehends the acute needs of civilisation and conceives modes of transformation without fear or toxic influence. Unafraid to smash assumptions, the themes of these axioms aim to channel energy into riots of proactive creativity, anarchic problem-solving and unbound paradigm shifts.

Axiom 1: Hyphermessiness (the ugly monster)
Hyphermessiness embodies the sum-total of the chaotic forces that envelop and entangle us at any given moment. These forces are characteristically unquantifiable, unpredictable, and incomprehensible, exerting inadvertent effects on the individual. In the 21st century, this phenomenon has grown to monstrous proportions, perpetuated by the infinite layers of information and data that we swim in.

Axiom 2: Art School Thinking (the philosophy)
Art School Thinking is the unique and rebellious philosophy that underpins our deepest modes of exploration and innovation. It has been the tool of some of the most pioneering minds and those that can genuinely envision the profanities of challenges, conjuring and often creating the most unimagined responses along the way.

Axiom 3: Profound Psycho-Ontological Transformation (the vehicle)
The monumental shift and reimagining of one’s understanding of self and reality. It delves into the profound depths of human consciousness and existence, propelling an exploration of uncharted territories. PPOT is orchestrated through transformative experiences that awaken and trigger moments of enlightenment in individuals, stimulate the ‘overview effect’, or ‘necessary distance’.

Axiom 4: Net-collective Consciousness (the minimum requirement)
Not a utopian or fluffy pipe dream, but a fundamental necessity for a balanced existence. This is the notion of global interconnectedness—a weaving of a collective ‘point of reference’ and understanding tangible, embodied and shared values. An intercultural unity that arises from recognising a shared humanity, fuelling a trajectory of harmonious equilibrium.

Methodologies & applications

The convergence of these axioms reveals new methodologies of potential, disruptive, often collaborative by nature, and infinite in application. At the core, anarchic modes of radical creativity are fused in pursuit of a necessary conscious evolution, creating unimagined ground for creative and transformative chaos.

In my work, I carry this as the essential toolbox—void of obsolete hangovers, complacency, unhelpful assumptions, or disingenuous platitudes. I see these as tools which can radically effect change, confronting stagnation head-on, and leveraging the potential of ‘art’ to its transformative and proactive function once again. For example, this is an approach which I deploy through experiential science, developing immersive interventions that aim to reconnect humanity with itself and a sense of shared values. 

Conclusion: Unapologetic energy

In these times which seem entangled in knots of convention and complexity, and which are strangling the possibilities of any effective transformation, Punk Innovation offers a clarion call to shake up, rebel, and reshape the landscape of invention. Punk Innovation represents a philosophical leap in creation, embracing messiness for what it is. It has the energy to pioneer new frontiers in the realm of experiential science, striving to create transformative shifts that transcend conventional boundaries and resonate with the core of human existence. 

The stoic legacies of those who have pioneered the spirit of Punk—whether they are visionaries like Pankhurst, luminaries like Gandhi, or techies like Torvalds and Stallman—stand as positive proof of the need for rebellious conviction. Their confrontations underscore the seismic potential of unorthodox creative thinking, enabling us to innovate away from the mundane ineffectiveness of the unimaginative, the complacent, and the painfully boring.

Punk is definitely not a nostalgic bygone era of the past—it’s a rallying spirit of future innovation. It embodies a relentless pursuit of the extraordinary, a relentless questioning of the status quo, and a relentless drive to rip away the knotted points of strangulation.

Invention should never be sterile, predictable, or stifled. Instead, it’s about channelling the energy of human intuition, embracing the instinct to create, rebel, and shape a future that is authentically bold and disruptive. A future which is essentially and unapologetically exploratory, celebrating the essence of what it means to be human, and forever pulsing with the positive blood of profound transformation.

This is part 2 of a series of three articles:

1. Experiential science: Embracing ancient practices, advanced technologies and the vital emergence of a profound opportunity

2. Punk Innovation: Creative exploration and proposed axioms for modes of rebellious invention

3. Profound transformation: The case for a different mindset and why creativity holds the key

References

The Club of Rome The Limits to Growth by  Dennis Meadows, Donella Meadows, Jørgen Randers, William W. Behrens III Download the pdf here

Linus Torvalds & Richard Stallman Documentary: History of Gnu, Linux, Free and Open Source Software Stallman, R., 1985. The GNU manifesto.

Sylvia Pankhurst Holmes, R., 2020. Sylvia Pankhurst: Natural Born Rebel. Bloomsbury Publishing.

Mahatma Gandhi The Anarchist Gandhi

John Lennon Wiener, J., 1984. Come together: John Lennon in his time. University of Illinois press.

Activism & innovation Hess, D.J., 2007. Alternative Pathways in Science and Industry: Activism, Innovation, and the Environment in an era of Globalizaztion. Mit Press.

Punk & DIY Moran, I., 2021. Punk: The do-it-yourself subculture.

Lewin, P. and Williams, J.P., 2009. The ideology and practice of authenticity in punk subculture (pp. 65-83). na.

Header image:

Ryan Board – Datum (Prototype v1.0), 2022 A cocooned chair that rotates silently throughout the day, fixed on the Lagrange Points located approximately 1.5 million kilometres away from Earth.

The post Punk innovation appeared first on Mr Board.

Introduction

In case you’ve been living on a rock, it’s unequivocal that we find ourselves at a pivotal inflection point. Unprecedented in recorded history, technocrats, academics, thought leaders and profound thinkers across cultures are individually recognising that the complexities of societal issues can’t be truly addressed through laws and policies alone. These are the unspoken conclusions of those delving deeply into nth-order effects. They converge on a unanimous notion: that a cluster of human traits consistently steers civilisation, environment, and the prospect of existence with any equilibrium, towards collective destruction.

I have noticed that this point of arrival is unanimous and almost unmistakable in its theme, but is yet to be united into a message with any recognition or momentum. The common themes of this message can be traced back to the origins of storytelling, but however urgently conveyed by activists, achieving a clear “combined arms” vision has proven elusive, hovering somewhere between garbled, muddy, and alt-hippy.

Newfound distillation

However, cut through the crap, harness the power of instantaneous global connectivity, and acknowledge the newfound empowerment DIY platforms (from Youtube to Discord) are providing those on the frontlines. From environmental chemists seeing PFAS in mother’s milk to geologists quantifying mineral depletion, and psychiatrists measuring stressors, gradually, one can discern the unmistakable resonance of a message being distilled.

However it is conveyed, the need for a different mindset, a paradigm shift, a new way of thinking, an alternative way of existence, is eventually the decisive reality. This realm of conclusions inherently stirs a lump in one’s throat, often accompanied by a profound realisation. And for those who allow full comprehension of this message to settle, this is all followed by an impactful “oh, fu@k!” moment.

In simple terms, both as individuals and as a species, we’ve arrived at a juncture where whatever the “solution,” only a monumental transformation in human values and consciousness could hope to have the potential to rebalance a co-existence with Earth. An extraordinary reality, extending beyond the construct of written language, surpassing the imagination and comprehension of most, and nearly inconceivable to internalise. Nevertheless, this is a trajectory that can only go into the realm of the unimagined and profound.

The necessary distance

The gritty realism, as elucidated by psychiatrist and writer Iain McGilchrist, is that we’ve found ourselves entrenched in a “hall of mirrors” of our ideas, unable to attain the necessary distance needed for contemplation. Everyone’s interpretation is different but for me, this reality manifests as an overwhelming kaleidoscope of mass information, unattainable aspirations, complex forces, engineered stressors, projected emotions, physical construction, blinking technologies, noisy communication, mental constructs, and on it goes…

As we drove ourselves into this realm of hyper-messiness and mass industrialisation, we left behind our ancient and refined methods of escape. As thoughtful beings, these were the methods that once afforded us perspective and the essential distance required to reflect on our existence. McGilchrist encapsulates these methods as art, religion, and nature, explaining that (paraphrasing):

Art has been under relentless attack, trivial, clever, ironised, highly representational, abstract and often silly, and deliberately undermined its ability to engage deeply at a subconscious level through the powder of visceral imagery and metaphors. 

Religion has become social work or a collection of absurd propositions to most people and lost its faith in our lives where it used to remind us that there’s more going on here than meets the eye.

Nature is nothing like the world we’re now taught we should live in. (A century ago, the majority of us lived within nature, but today, that number has dwindled to around 15%)

And this is where my strong belief in art reemerges. Reacquainting humanity with creativity and the transformative power of art holds the ultimate key to shaping future thinking and visions. Not through more elite art fairs, or more rusty sculptures on roundabouts, and not through the invention of more underfunded ‘art centres’, instead, it necessitates a profound and holistic reconnection with creative thinking embedded within the very fabric and decision-hubs of society.

Sublime transformation

In the pursuit of the commodification and commercialisation of artists, and the simultaneous abandonment of transformative art we also waved away the power of the sublime.

Through experiential installations and transformative experiences, artists can unveil the beauty of existence and reveal uncharted realms of comprehension. By exploring and magnifying intercultural, interracial, intergenerational, and all-encompassing commonalities, profound transformation extends an invitation for introspection regarding one’s distinct place in the universe. Cultivated with care and imagination, this is a powerful introspection that can instantaneously erase boundaries and cultivate an atmosphere of unity, a sensation astronauts often refer to as the ‘overview effect’.

From my perspective, the work I embark on no longer seeks to feed the Art-industrial Complex, nor perpetuate the sale of widgets through whizzy launches. Instead, rooted in my unenviable background in crafting experiences for museums and brands, my concentration revolves around utilising the newfound tools at my disposal to trigger deep shifts in ontological perception.

For me, this perspective also underscores the necessity for a simultaneous revolution in the way the thinkers of the arts are nurtured and integrated into society. I believe this shift is not only inevitable but also reemerges as a fundamental prerequisite for any transition that aspires to elicit profound change.

Conclusion

A profound transformation is more than a mere artistic pursuit. Within this context, it signifies a fundamental requirement—an essential shift in our collective consciousness essential to address the catalogue of profound challenges confronting humanity and its home with any meaningful impact.

The fallacy that artists and their creations must either embody obscure notions, represent privileged and overvalued commodities or be seen as underfunded undervalued individuals, or simply that of middle-class unemployable freaks, will inevitably have to dissipate.

At this point of inflection, it will not be bureaucrats, policy-makers, and desk jockeys emerging with power points to ‘power transition’, instead, it will arise from the profound magic of the right hemisphere— from the creative thinkers, artists, poets, writers, philosophers, architects, musicians, and more, who steer clear of the toxins of limitations, barriers, and weak assumptions. In other words, it is those with vision and unorthodox methodologies that will prove invaluable in envisioning pathways.

Does this make a compelling case for a profound transition in how we perceive artists? Or for the cosmic transformation that the Earth itself will undergo, one that humanity will ultimately traverse? Or will the former lead to a more harmonious rendition of the latter?

While this uncertainty lingers, what remains certain is that the unimagined will inevitably have to be imagined.

This is part 3 of a series of three articles:

1. Experiential science: Embracing ancient practices, advanced technologies and the vital emergence of a profound opportunity

2. Punk Innovation: Creative exploration and proposed axioms for modes of rebellious invention

3. Profound transformation: The case for a different mindset and why creativity holds the key

References:

Dr Iain McGilchrist The Master and His Emissary: The Divided Brain and the Making of the Western World Official website

Julian Bell, ‘Contemporary Art and the Sublime’, a Tate Research Publication

Donella Meadows The Limits to Growth by  Dennis Meadows, Donella Meadows, Jørgen Randers, William W. Behrens III Download the pdf here

Daniel Schmachtenberger Steering Civilization Away from Self-Destruction | Lex Fridman Podcast #191 The Consilience Project

Rex Weyler “Crisis in the Ecology Movement” | The Great Simplification #11 Greenpeace

Martin Scheringer “The Growing Threat from Chemical Pollution” | The Great Simplification #37 RECETOX

Simon Michaux “The Arcadians” | The Great Simplification #49 Simon’s website

Joan Diamond “From Kool-aid to Lemonade” | The Great Simplification #28

Nora Bateson “Complexity Between the Lines” | The Great Simplification #10 The International Bateson Institute

Credit also to Nate Hagens – Director of The Institute for the Study of Energy & Our Future (ISEOF) and host of The Great Simplification Podcast series Also see Nate’s website and his work on Energy Blindness

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