Less, but better
There must be millions less of things, less words, less gestures, less of everything. But every word and every gesture will become more valuable. If we can put it all into perspective we will need less things as a result.
There must be millions less of things, less words, less gestures, less of everything. But every word and every gesture will become more valuable. If we can put it all into perspective we will need less things as a result.
I see no other solution (political, economic) to the problems of mankind than the formation of small responsible communities involved in permaculture and appropriate technology. I believe that the days of centralised power are numbered, and that a re-tribalisation of society is an inevitable, if sometimes painful, process.
The greatest change we need to make is from consumption to production, even if on a small scale, in our own gardens.
Until the nineteenth century, virtually all cities were “all use” environments. Craft-scale production was typically carried out in a workshop below the home of the craftsperson, which often also served as the site of exchange.
I meant no harm. I most truly did not.
But I had to grow bigger. So bigger I got.
I biggered my factory. I biggered my roads.
I biggered my wagons. I biggered the loads
of the Thneed’s I shipped out. I was shipping them forth
to the South! To the East! To the West! To the North!
I went right on biggering...selling more Thneed’s.
And I biggered my money, which everyone needs.
"Look, Lorax," I said. "There's no cause for alarm.
I chopped just one tree. I am doing no harm.
I'm being quite useful. This thing is a Thneed.
A Thneed's a Fine-Something-That-All-People-Need!
It’s a shirt. It's a sock. It's a glove. It's a hat.
But it has other uses. Yes, far beyond that.
You can use it for carpets. For pillows! For sheets!
Or curtains! Or covers for bicycle seats!"The Lorax said, "Sir! You are crazy with greed.
There is no one on earth who would buy that fool Thneed!"
In System A, creation and production are organic in character, and are governed by human judgments that emanate from the underlying wholeness of situations, conditions, and surroundings.
In System B, the production process is thought of as mechanical. What matters are regulations, procedures, categories, money, efficiency, and profit: all the machinery designed to make society run smoothly, as if society was working as a great machine. The production process is rarely context-sensitive. Wholeness is left out.
Identifying these two categories helps us sharpen and clarify the range of differences among ways of creating the environment that exist in different societies. And the two categories serve to identify a dimension of great importance: the dimension that runs from more life-giving to less life-giving.
Eliminating waste is the key to efficiency – in the Toyota Production System, this is termed as:
Muda (waste),
Muri (overburden),
and Mura (irregularity).
"The art world is highly invested in the idea that you can take an object and set it in a room, and the internal relationships will be so strong and so meaningful that all the kinds of change that take place on the object as a result of its being in a new environment will not critically affect our perception of the object. If that is the given assumption, then the object can be moved from one environment to another without its being critically altered, which then gives rise to the illusion that it can be moved from culture to culture, that it has the ability to transcend its cultural specificity, which in turn gives rise to the ultimate illusion that the object can transcend time. Because what is being claimed is that there exist certain objects isolated and meaningful enough to be transcendent, that they have the power to go on and on, that they are, as it were, timeless.
"Well, one of the things that I was becoming involved in at that point in playing artist was the growing suspicion that this breaking down of the edge, the idea of the painting's moving into its environment, was putting the whole heightened rationale of the art object into doubt. There is simply no real separation line, only an intellectual one, between the object and its time environment. They are completely interlocking: nothing can exist in the world independent of all the other things in the world."