Category: MUSIC IN PHASE SPACE

Reverse Engineering in Art

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The strategy of working backward from your desired end result to create art, known as “reverse engineering,” can be a useful tool for many artists and creatives. However, as with any strategy, it has its limitations.

At its core, reverse engineering is about starting with the end in mind and working backwards to determine the steps needed to achieve that outcome. It’s a process that can be applied to almost any creative endeavor, from songwriting to painting to product design. By breaking down the end goal into smaller, more manageable steps, reverse engineering can help artists navigate the creative process more efficiently and effectively.

But there comes a point where relying too heavily on reverse engineering can hinder artistic growth and limit creative potential. When an artist becomes too comfortable with one particular style or genre, they risk falling into a creative rut. They may become complacent, churning out works that are formulaic and lacking in originality.

At this point, it’s important for artists to challenge themselves by seeking out new genres or styles. By stepping outside of their comfort zone, artists can open up new avenues of creative exploration and break free from the constraints of reverse engineering.

Low hanging fruit refers to easy-to-achieve goals that require little effort or creativity. While these goals may provide a quick sense of satisfaction, they do little to push an artist to their creative limits. To truly grow as an artist, it’s important to challenge yourself by seeking out more difficult goals that require a deeper level of creativity and problem-solving.

In conclusion, reverse engineering can be a useful tool for artists and creatives, but it’s important to recognize its limitations. Once an artist has mastered a particular style or genre using this technique, it’s time to seek out new challenges and push their creativity in new directions. By doing so, artists can continue to grow and evolve, producing work that is both innovative and inspiring.

High Voltage

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The band AC/DC is known for their iconic rock anthems, including “High Voltage,” a classic track that has stood the test of time. But have you ever noticed that the chords for “High Voltage” are actually A-C-D-C, the same letters that make up the name of the band? It’s a clever play on words that highlights the band’s passion for rock and roll and their unique sense of humor.

The chords for “High Voltage” are relatively simple, with a basic rock riff that is instantly recognizable. But when you take a closer look at the notes, you’ll see that they form the letters A, C, D, and C. This is no coincidence, as the band intentionally chose these chords to spell out their name in the song.

The chords for “High Voltage” by AC/DC are not just a catchy rock riff, but a clever play on words that highlights the band’s unique sense of humor and passion for rock and roll. The letters A-C-D-C have become synonymous with high-energy music and rebellion, and the band’s music continues to inspire and influence musicians and fans around the world. AC/DC’s legacy as one of the greatest rock bands of all time is cemented in their music, their performances, and their ability to connect with their fans in a meaningful way.

“COME IN HERE, DEAR BOY, HAVE A CIGAR: THE INVASION OF THE PARADIGMATIC MIND

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So the paradigm exists as I said for the purpose of making sense of your environments so that you can then make meaningful choices and bond reality however paradigms also seem to have two other primary characteristics. The first is the principle of responsiveness which is to say that the paradigm exists as I said for the purpose of making sense of your environments so that you can then make meaningful choices and effective choices in your environment so paradigms emerge so that you can bond reality however paradigms also seem to have two other primary characteristics

The second is the principle of conservation which is to say that paradigms in some sense seek to

change as little as they can possibly change and only change it at the edges minimally

The third is the principle of minimum dissonance which is to say that if some kind of perception shows up some experience comes in that doesn’t make sense in the paradigm. Paradigms need to solve dissonance but they need to resolve dissonance also under the principle of maximum conservation

The liminoid experience is a blast however, as their numbers grow, they become a headache. Disciples do all the organizational work, initially just on behalf of liminal mind: out of generosity, and to enjoy a g sub society. They put on events, build websites, tape up publicity fliers, and deal with accountants. The paradigmatic mind just passively soak up the good stuff like Mark Chapman from meaningness highlight — (…) you may even have to push them around the floor; Hipsters they have to be led to the drink. At best you can charge them admission or a subscription fee, but they’ll inevitably argue that this is wrong because capitalism is evil, and also because they forgot their wallet(…)

There’s another phenomenon, that of bro or bro-dude, which is the polar opposite of the hipster. You know them by their preppie-frat-beach-rawk fashions, their polo shirts, their shorts and sandals, their university hoodies, and their backwards baseball caps, You’ve seen them getting way too drunk on weak light beer whenever they’re out,

The paradigmatic mind also dilute the culture. The New Thing, and its liminoid manifestations although attractive, is more intense and weird and complicated than the people stuck in a paradigmatic mind would prefer. Their favorite songs are the ones that are least the New Thing, and more like other, popular things. Some with access to liminal consciousness oblige with less radical, friendlier, simpler creations.

Disciples may be generous, but they signed up to support people that are one step removed from magic able not paradigmatic minds. At this point, they may all quit, and the cultural capital is up for grabs.

“COME IN HERE, DEAR BOY, HAVE A CIGAR

Oh, by the way… which one’s Pink?

The cultural capital at this stage is ripe for exploitation. The liminal consciousness generate cultural capital, i.e. cool. The Disciples generate social capital: a network of relationships — strong ones among the liminal mind, and weaker but numerous ones with paradigmatic mind. The paradigmatic mind, when properly squeezed, produces liquid capital, i.e. money.

None of those groups have any clue about how to extract and manipulate any of those forms of capital. So the large slug-like sentient species, the Hutts quickly become best friends with people dropping in and out of liminal consciousness. Also at the same time we see the appearance of Doppelgängers. They dress just like the cool, only better. They talk just like the liminal mind — only smoother as if they were partaking of the same liminal consciousness. They may even do some creating/replication — competently, if not creatively. The people dropping in and out of liminal consciousness may not be completely fooled, but they also are clueless about what the hangers on are up to.

People dropping in and out of liminal consciousness really are not much into details and the Doppelgangers look to them like better versions of themselves, only better. They are now the coolest kids in the room, demoting the access to liminal consciousness. At this stage, they take their pick of the best-looking paradigmatic mind to sleep with. They’ve extracted the cultural capital.

The Hutts also work out how to monetize paradigmatic mind — of hipsters and bros which the Disciples were never good at. With better publicity materials, the addition of a light show, and new, more crowd-friendly product, they create a new polished liminoid experience, almost as good as the real thing, admission fees go up tenfold, and paradigmatic mind are willing to pay. Somehow, not much of the money goes to the people dropping in and out of liminal consciousness. However, more of them do get enough to go full-time, which means there’s more product to sell.

The Hutts which have always being in contact with the Empire side also hire some of the Disciples as actual service workers. They resent it, but at least they too get to work full-time on the New Thing, which they still love, even in the Miller Lite version.

As far as the Hutts, Doppelgangers and the empire stormtroopers are concerned, it generates easily-exploited pools of prestige, sex, power, and money.

The rest of the Disciples get pushed out, or leave in disgust, broken-hearted end up hating each other, due first to the stress of supporting paradigmatic mind, and later due to the gangsters crowd divide-and-conquer manipulation tactics.)

THE DEATH OF COOL

After a couple years, the cool is all used up: partly because the shiny New Thing that was was being pushed by the New Kid In Town is no longer new, and partly because it was diluted into New Lite, which is inherently uncool. As the people stuck on paradigmatic minds dwindle, the Hutts and the empire loot whatever value is left, and move on to the next exploit.

They leave behind only wreckage: devastated people on the threshold of awareness who still have no idea what happened to their wonderful New Thing and the wonderful friendships they formed around it.

LIFECYCLES

The Hutts only show up if there’s enough body count of paradigmatic mind to exploit, so excluding (or limiting) paradigmatic mind is a strategy for excluding “Come in here, dear boy, have a cigar” crowds. Some subcultures do understand this, and succeed with it.

So what is to be done? A slogan of Rao’s may point the way: Be slightly evil. Or: The people on the threshold between paradigmatic and liminal consciousness mind need to learn and use some of the “hutt tricks. Then liminal mind can capture more of the value they create (and get better at ejecting bad actors as they arrive.

Rao concludes his analysis by explaining that his Hutts, he calls them sociopaths, are actually nihilists, in much the same sense The cultural capital usually created by people dropping in and out of liminal consciousness is usually eternalistic: the New Thing is a source of meaning that gives everything in life purpose. Eternalistic naïveté makes subcultures much easier to exploit.

“Slightly evil” defense of a cultural capital requires realism: letting go of eternalist hope and faith in imaginary guarantees that the New way pof accessing the liminoid experience will triumph. Such realism is characteristic of nihilism. Nihilism has its own delusions, though. It is worth trying to create beautiful, useful New Things — and worth defending them against nihilism. A fully realistic worldview corrects both eternalistic and nihilistic errors

Liminality

LIMINOID STATES

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Indeed, if the person is able to drop from this space and bring with him some valuable cultural capital more times than not you will create a scene. A scene is a small group of people with the ability of dropping in and out of liminal consciousness are able to invent an exciting New application — a musical genre, a religious sect, a film animation technique, a political theory. Riffing off each other, they produce examples and variants, and share them for mutual enjoyment, generating positive energy into a series of liminoid experiences.

Liminoid states are a concept in anthropology that refers to experiences or situations that are similar to but distinct from the traditional concept of liminal states. Liminality refers to a transitional state in which individuals are in between two phases or statuses, such as between childhood and adulthood or between life and death. In contrast, liminoid states are voluntary, non-ritualistic experiences that are often sought out for personal growth, self-discovery, or spiritual exploration.

Liminoid states can take many different forms, including experiences of intense creativity, adventure, travel, or experimentation with psychoactive substances. They may involve a sense of loss of self, a blurring of boundaries between oneself and the world, or a sense of being in an altered state of consciousness. These experiences can be transformative, allowing individuals to step outside of their usual roles and identities and explore new aspects of themselves and the world around them.

One of the most famous examples of a liminoid state is the Burning Man festival, which takes place annually in the Nevada desert. Participants at Burning Man engage in a wide variety of activities, including art installations, music, dance, and communal living. The festival is intended as a temporary community that challenges traditional social norms and allows participants to explore new forms of self-expression and creativity.

Another example of a liminoid state is the use of psychedelic substances, such as LSD or psilocybin mushrooms, for spiritual or therapeutic purposes. Some individuals report profound experiences of ego dissolution, mystical experiences, and a sense of unity with the universe while under the influence of these substances.

Overall, liminoid states offer individuals an opportunity to step outside of their usual roles and identities and explore new aspects of themselves and the world around them. These experiences can be transformative, leading to personal growth, spiritual development, and a greater sense of connection to the world.

The new scene draws Disciples. Disciples contribute energy (time, money, adulation, organization, analysis) to support the people that are able to deop in and out of liminal consciousness. The Disciples totally love the New Thing, they’re fascinated with all its esoteric ins and outs, and they spend all available time either doing it or talking about it.

Liminoid experiences

In 1974, Victor Turner coined the term liminoid to refer to experiences that have characteristics of liminal experiences. A graduation ceremony might be regarded as liminal while attending a rock concert might be understood to be liminoid. The liminal is part of society, an aspect of social or religious rite, while the liminoid is a break from society, part of “play” or “playing”. Turner stated that liminal rites are rare and diminished in industrial societies, and ‘forged the concept of “liminoid” rituals for analogous but secular phenomena’ such as attending rock concerts and other liminoid experiences.

David Chapman Meaningness explains really well. If the scene is sufficiently complex, it remains a strictly geek thing; a weird hobby, not a subculture. If the scene is unusually exciting, and the Liminoid experience can be appreciated without having to expend too much time on the details, it draws the paradigmatic mind. People that are not able to drop in and out of liminal consciousness mind are appreciative, but not devotees like the Disciples. They show up to have a good time, and contribute as little as they reasonably can in exchange.

The liminal consciousness welcomes paradigmatic mind to the liminoid experience at first at least. It’s the mass of paradigmatic minds who turn cultural capital into a money. Creation, reception or whatever you want to call it is always at least partly an act of generosity; The people that are able drop in and out of liminal consciousness want as many people to use and enjoy their creations as possible. It’s also good for the ego; it confirms that the New Liminoid experience really is exciting, and not just a geek obsession.

PARADIGMATIC MIND AND LIMINAL MIND: THE BIRTH OF THE COOL

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Liminal Consciousness is the state that exists between and betwixt, at the edges of boundaries, at dawn and dusk, in the moments before falling asleep and the moments of resurfacing from the dreamtime into waking. It is a time that is often more vulnerable, but also more alchemically charged. The liminal state is not as fully formed as what is on either side of it, it partakes of both sides, and therefore it is an ideal state for creating new forms.

“The liminal state is characterized by ambiguity, openness, and indeterminacy. One’s sense of identity dissolves to some extent, bringing about disorientation. Liminality is a period of transition where normal limits to thought, self-understanding, and behavior are relaxed — a situation which can lead to new perspectives.

The crossroads are a meeting of two directions, where a traveler must make a choice between continuing straight ahead and turning onto a new path directly away from the old one. Or like Rod Serling said (…) is a dimension as vast as space and as timeless as infinity. It is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man’s fears and the summit of his knowledge. This is the dimension of imagination(…)

The artist occupying a position at, or on both sides of the threshold of the liminal consciousness have been the main creative cultural force from roughly 1956 to 1996 , when the model stopped working and started to fold onto itself. One reason — among several — is that as soon as has the liminal spaces start getting really interesting, they get invaded and absorbed by the paradigmatic mind, The Hutts, Dopplegangers and other Empire figures, who ruins them. The cultural capital extracted from liminal spaces have a predictable lifecycle, in which success means death by drowing.

This insight was influenced by Venkatesh Rao’s Gervais Principle, an analysis of workplace dynamics.

LIMINAL MIND. THE BIRTH OF COOL

When you find yourself in a circumstance where the principle of responsiveness has overcome the principles of conservation and dissonance you’ve now entered into a new location and this is what I’m calling liminal mind or liminal consciousness and so the first thing to keep in mind is that this space is in fact actually the base this is the source from which paradigms emerge and therefore it’s also the place to which paradigms dissolve when they break up completely.

You may have heard the word used in Tibetan Buddhism for the bardo state — the “transitional state” or “in-between state” or “liminal state”. Used loosely, the term “bardo” refers to the intermediate state of existence between lives on earth. The liminal space lies between the known and the unknown — the space is a transitional space of heightened intensity.

CROSSROADS

“I went down to the crossroad, fell down on my knees. Asked the lord above ‘have mercy, save poor Bob, if you please.’” — Robert Johnson, Cross Road Blues)1936).

The story tells of Robert Johnson, a young blues player, who wanted musical fame. Robert heard voices one night, telling him to take his guitar down to the crossroads at midnight. As he stood there waiting, a tall dark man walked up and told Robert he could have his fame in exchange for his soul. Robert agreed, the stranger took Robert’s guitar and tuned it. After receiving the guitar back, Robert played a few licks and was amazed at his improvement. When he looked back up, the dark stranger was gone. For now. At least that’s how the story goes. As to its truth?

Think Coltrane, Rabel, Debussy, Stravinsky: It’s as if Liminal existence can be located in a separated sacred space, which occupies a sacred time. Examples in the Bible include the dream of Jacob where he encounters God between heaven and earth and the instance when Isaiah meets the Lord in the temple of holiness. In such a liminal space, the individual experiences the revelation of sacred knowledge where God imparts his knowledge on the person in the subtle space between any sense of identity you’ll find there is something there that is neither and both and more. There is a dimensionalization of consciousness that allows us to exist in a kind of quantum reality where both ‘the particle and the wave’ co-exist. Wormholes are bridges through space-time that create a shortcut from one reality to another.

The dissolution of order during liminality creates a fluid, malleable situation that enables new forms to arise. We speak of emergence — but it’s usually inside the unexamined current perspective of thinking emergence is an action that happens between solid realities

More conventionally, springs, caves, shores, rivers, volcanic calderas — ‘ are used as another symbol of transcendence’ — , passes, crossroads, bridges, and marshes are all liminal: ‘“edges”, borders or faultlines between the legitimate and the illegitimate’. Oedipus (an adoptee and therefore liminal) met his father at the crossroads and killed him; Major transformations occur at crossroads and other liminal places, at least partly because liminality — being so unstable — can pave the way for access to esoteric knowledge or understanding of both sides. Liminality is sacred, alluring, and dangerous.

When you’re in a in a truly deeply mental space you don’t necessarily even have the capacity to name the things that you’re experiencing so making sense can become very limited and you might be in a part

perceiving something that under a paradigmatic frame you would call a tree but in a liminal space you don’t have a name for it you’re just experiencing it and it’s raw sensorial and of course this means you can be quite limited like your your ability to make meaningful choices.

Jungians have often seen the individuation process of self-realization as taking place within a liminal space. ‘Individuation begins with a withdrawal from normal modes of socialisation, epitomized by the breakdown of the persona…liminality’. .What takes place in the dark phase of liminality is a process of breaking down…in the interest of “making whole” one’s meaning, purpose and sense of relatedness once more.

Jungians however have perhaps been most explicit about the ‘need to accord space, time and place for liminal feeling’ — as well about the associated dangers, ‘two mistakes: we provide no ritual space at all in our lives…or we stay in it too long’.

Mass Movements

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Mass movements have always been a part of human history, whether they are political, social, or religious in nature. They have the power to transform societies, overthrow governments, and bring about change. However, the base of a mass movement is often composed of frustrated individuals, and this can have significant consequences for the movement’s goals and actions.

A movement that is composed of frustrated people is likely to be attracted to impossible, frustrating goals. This is because these goals tap into the underlying sense of discontent and frustration that motivates people to join the movement in the first place. In a sense, the more impossible and frustrating the goal, the more it resonates with the base of the movement. This creates a competitive dynamic where movements that offer more impossible and frustrating goals are likely to outcompete those that offer more practical and achievable goals.

I would also argue that the type of actions that a successful movement uses are often meaningless, repetitive, and aimed at solidifying identity without achieving anything else. This is because the true goal of the movement is not to achieve a particular outcome, but rather to provide a sense of identity and purpose to its base. The more the movement can solidify its identity, the more it can recruit from the biggest pool possible.

However, we could go further and argue that the very best movements are those that frustrate a whole lot of outsiders, too, whether by actively interfering or at least convincing them that the things they find meaningful are really meaningless. This is because the more the movement can create a sense of conflict and tension with outsiders, the more it can solidify its own identity and purpose. In a sense, the movement defines itself by what it opposes, rather than what it supports.

While this analysis of mass movements may seem cynical or pessimistic, it does offer some important insights into the dynamics of social change. Movements that are based on frustration and a sense of identity are often more resilient and enduring than those that are based on specific goals or outcomes. However, this resilience comes at a cost, as it can lead to movements that are more interested in creating conflict and tension than in achieving practical results.

Ultimately, the challenge for any mass movement is to balance the competing demands of identity, frustration, and practical results. The most successful movements are those that can find a way to harness the energy and passion of their base while also pursuing practical goals that can create real change. This requires a delicate balancing act, but it is one that is essential for any movement that wants to make a lasting impact on society.

Appetite For Distraction

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As human beings, we have an almost infinite appetite for distractions. Whether it’s checking our phones every few minutes, binge-watching our favorite TV shows, scrolling endlessly through social media feeds, or simply daydreaming, we are constantly seeking ways to occupy our minds and avoid boredom. This is not a new phenomenon, but it has been exacerbated in recent years by the explosion of digital technology and the internet.

In his book “Amusing Ourselves to Death,” media theorist Neil Postman argues that our society is becoming increasingly preoccupied with entertainment and distraction, to the point where we are losing our ability to think critically and engage in meaningful discourse. He writes, “We are a culture that worships at the altar of entertainment, and as a result, we are losing the ability to distinguish between what is important and what is trivial.”

This is a sobering thought, especially given the many pressing issues facing our world today, from climate change to social injustice to political instability. If we are constantly distracted by trivial pursuits, how can we hope to address these challenges in a meaningful way?

One reason for our infinite appetite for distractions is our fear of boredom. In a world where we are bombarded with information and stimuli at every turn, it can be difficult to simply sit still and do nothing. Boredom is seen as a negative state, something to be avoided at all costs. But in reality, boredom can be a powerful catalyst for creativity and self-reflection. When we allow ourselves to be bored, we open up space for new ideas and insights to emerge.

Another reason for our love of distractions is the constant pressure to be productive and achieve. We live in a culture that values productivity above all else, and we are constantly encouraged to do more, be more, and achieve more. But this relentless pursuit of productivity can be exhausting, and distractions offer a welcome escape from the pressure.

Of course, there are also more insidious forces at work, such as the algorithms used by social media platforms and streaming services to keep us hooked on their content. These algorithms are designed to keep us engaged for as long as possible, using tactics such as autoplay, recommended videos, and personalized content feeds. It’s no wonder that we often find ourselves mindlessly scrolling through our feeds, unable to tear ourselves away.

In his quote, French philosopher Blaise Pascal suggests that those who oppose tyranny may have failed to take into account our love of distractions. In other words, we may be so preoccupied with entertainment and trivial pursuits that we fail to notice when our freedoms are being eroded or our rights are being violated. This is a chilling thought, and one that should give us pause.

The Alice-like landscape described in the second quote, with its upside-down logic and distorted reality, is a fitting metaphor for our current situation. We are bombarded with so much information and distraction that it can be difficult to distinguish fact from fiction, or to separate what is truly important from what is merely entertaining.

Despite all the cable channels and streaming services available to us, we are often locked in a cycle of mindless consumption, unable to break free from the distractions that surround us. It’s as if we are living in a virtual Guantanamo, where our attention is constantly under siege and our freedom to think critically and engage with the world around us is severely limited.

The Long Tomorrow

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One of the limitations in the conception of cities in mainstream American science fiction was the lack of understanding that cities are like compost heaps, just layers and layers of stuff from the past, present, and future, all totally adjacent. This radical concept was introduced by Moebius in his comic book “Metal Hurlant: The Long Tomorrow” in 1975, which preceded the popular sci-fi movies “Empire Strikes Back,” “Blade Runner,” and the works of William Gibson. Moebius’ work, which was written by Dan O’Bannon while he was working with Jodorowsky on DUNE, was able to depict the intricacies of urban archaeology in every frame, something that was not obvious in mainstream American science fiction at the time.

While this concept of cities as compost heaps may seem commonplace in Europe or Asia, it was a revolutionary idea in American science fiction, where the city in the future was always depicted as brand new. It is fair to say that the way the future looks in sci-fi is heavily influenced by Metal Hurlant and its groundbreaking approach to depicting cities.

This limitation in the conception of cities in American science fiction is an example of how mediums, in this case, sci-fi, define the limits by which we can think. The medium creates an environment that makes certain things possible and certain other things impossible. In the case of sci-fi, the genre allowed for the depiction of fantastical worlds and futuristic technologies, but it was limited by the prevailing ideas and concepts of the time.

This is not unique to sci-fi, as all mediums have their limitations. For example, in literature, the medium of the novel has certain limitations that make it difficult to convey certain types of information, such as visual or auditory experiences, in the same way that film or music can. Similarly, in art, the medium of painting may be limited in its ability to depict movement or sound.

However, these limitations do not necessarily detract from the value of the medium. In fact, it is often these limitations that force artists and creators to innovate and find new ways to express their ideas. It is the medium itself that provides the constraints that inspire creativity and new ways of thinking.

Discounted States

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The statement “If it’s worth doing at all, it’s worth doing poorly” is often used to encourage people to take action even if they feel they cannot achieve perfection. It is a reminder that it is better to try and fail than to never try at all. In the context of creating a new system, this statement can be interpreted to mean that a new system needs to be able to work even in a discounted or sub-optimal state.

When designing a new system, engineers and designers often strive for perfection. They want the system to work flawlessly, with no downtime, and with maximum efficiency. However, this approach can lead to a system that is fragile and cannot withstand unexpected events or changes in the environment.

A system that is designed to work in a discounted state, on the other hand, is one that can function even when some components are not working at full capacity or when there are disruptions in the environment. It is a system that can adapt to changing circumstances and still perform its essential functions.

For example, consider a power grid that is designed to work only when all its components are functioning perfectly. If there is a disruption, such as a storm or a malfunctioning component, the entire system can fail. However, if the power grid is designed to work in a discounted state, it can still function even if some of its components are not working optimally.

Another example is a software system that is designed to work in a discounted state. If the system is designed to work only when all the servers are running smoothly, then any disruption to one of the servers can cause the entire system to fail. However, if the system is designed to work in a discounted state, it can still function even if one or more servers are down.

Designing a system to work in a discounted state requires a different approach than designing a perfect system. It requires anticipating and planning for possible disruptions and failures. It also requires building redundancies and backups into the system to ensure that it can continue to function even when some components are not working at full capacity.

In conclusion, the statement “If it’s worth doing at all, it’s worth doing poorly” can be applied to the design of new systems. It suggests that a system should be designed to work in a discounted or sub-optimal state, rather than striving for perfection. A system that is designed to work in a discounted state is one that can adapt to changing circumstances and still perform its essential functions. This approach requires anticipating and planning for possible disruptions and failures, as well as building redundancies and backups into the system. Ultimately, designing a system to work in a discounted state can lead to a more robust and reliable system that can withstand unexpected events and continue to function when other systems fail.