NON-FICTION BOOKS BY PAUL ADKIN

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Dismantling the Paradigm cover

We are driving a juggernaut along a road which leads directly to a cliff edge. If we go straight, we will topple into an abyss. Obviously we cannot continue the way we are going. To avoid annihilation, we have one of two choices: we can either turn left toward a Utopia, or right into a Dystopia. It seems obvious which decision needs to be made. And yet … most of those on board are screaming to the driver to turn right. Why? Why would we choose a Dystopia before a Utopia?

 

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Our Evolution

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“… evolutionary novelty comes about when ecological opportunities are truly large.”

(P. Ward, RARE EARTH)

For evolution to be creative, which basically means for it to be able to operate on a radical scale, there needs to be a wide-open field to nurture it and allow it to grow within. The same could be said of any innovations. In the human-made world, our creative evolution, which is manifest in the arts and sciences, is dependent on the economic environment. As such, we can assert that human creativity (artistic and technological) can only come about when economic opportunities are truly large. But what does large in this case mean?

Surely it should be understood as widespread, giving opportunities to as many creative and innovative people as possible. Opportunities in these areas don’t have to mean enormous amounts of money, and certainly shouldn’t be merely big pay offs for projects to make these creators and innovators rich. Rather it should be seen as opportunities to get projects done, because: a) there is a space – a laboratory or work-shop – to experiment and construct in; (b) there is time for the innovators to be able to dedicate themselves to the projects at hand; (c) that there is comfort and security that allows the innovators to work without the stress and pressure of results; and (d) innovators have the opportunity (platform) to present the fruits of their work to the rest of society.

Through this kind of creative and innovative freedom a civilisation can truly evolve. Although this progress depends on the creation of an economic comfort zone for all creators, the problem is not an economic one as such, but rather it is a matter of progressive will.

Under our present system, economics is a hindrance to creativity because instead of nurturing economic opportunities for human innovation it creates barriers and impediments for creators to find the freedom to work in. The question should not be: How can we allow creativity to be financed in our society? But: What kind of economic system can be devised to create a field where creativity and innovation on a massive, evolutionary scale is possible?

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