I am trying to email this to Jordan Peterson. A public record is as good as private. The proposal is backed up and archived on my website to show when it was made. Since such a proposal exceeds 40,000 characters, the intro is here:
"I’m framing this in terms of what would 'pass' in psychology. It should be patently obvious this is the only approach one can take. The only arena in which conveying the existence of a transcendent consciousness operating as universal inspiration throughout human creativity (music lyrics in this case) can either fail or succeed on an evidentiary basis is in this field. Hence that’s the metric. Furthermore I’ve actually only succeeded at communicating this if I was thinking in terms of an explanatory exposition to one individual in the past. Framing it to a person gave me a means of proper expression. In this instance, it is paradoxically the best avenue to make this universally applicable, so understand I’m attempting both at the same time.
The reason for the name of the homepage will be obvious from the nature of the content and whether it runs its due (suspected and expected) course.
Are we apprised?
Good.
We are going to play a game I’ve been inside of, involuntarily (some argument there, but it can be boiled down to, “you don’t choose your interests they choose you”), for almost thirty years, as I try to figure out and isolate what is actually going on. This is an example of, “We don’t want to underestimate the utility of establishing this bounded relationship with the ideal and attempting to live in truth while aiming for the highest ideal. There’s nothing about that, that’s anything but strengthening and positive, and it’s exactly what you need to set against the catastrophe and uncertainty of life, and as far as I can tell, that’s what these Abrahamic stories are attempting to communicate.” - Jordan Peterson
What I’m going to try and demonstrate is just what can come about if you really, earnestly approach this as your life goal (and in approaching it, you must do so as an assumption you must subject yourself to). What can potentially happen if you set discovery of whether God is true and real (or not) as your highest goal, and you attempt it in terms of communal benefit? (In other words, in terms of Christian arch-types, you set about trying to create the Church out of communal love as a connective consciousness.) This is albeit starting with the most negative inverted first step that could have possibly been cooked up for you, admitted laxity at points and several interludes, but it boils down to whether you approached this in earnest, meaning if you do it out of the sensibility of dedicating your life to God’s purpose for it (no matter how mistaken your apprehension of purpose might be in the beginning), and acted progressively and with serious intent incrementally on your assumptions.
And my answer to that, what I hope presents right here right now, is that well, at the very least you are going to bear witness that it will resonate as far and as high our our most respected founts of creative inspiration. Meaning, if you make this your life goal, you will come to a threshold were you will resonate. This will resonate. And it will do it with enough specificity and attributes as to become undeniable (but this will take a little while, naturally).
The aim of this testament is to open up an interior rumination and experience to scrutiny in the interest of demonstrating that what is going on in the interior is not a singular delusion that is solely an interior experience. The position I’m asserting is that what is happening is an integral relationship with a transcendent active personal consciousness that uses universal inspiration in order to personally relate, and in doing so, engages everyone in a collective consciousness. Consider it the outcome my life time thesis where the thesis was my life (brought on by about as severe an existential crisis on the question one’s parents could manage to cook up childrearing).
If we arrive at that conclusion, (that there really is a transcendent, separate active consciousness universally involved here) we can get into the nuts and bolts of what that implies and whether I’m correct about the existential nature of this identity (starting at, is it even an identity or rather a potential collective consciousness), let alone correct about how that Identity has identified Itself (or whether that’s a product of my own mind), -let alone, what this implication might demand, or not. (It’s the sort of thing that takes a life time of existential preparation, it can’t just get sprung on you, or you won’t be prepared. That is why you have to predicate the question on assuming it.)
And let’s just announce at the outset, in experimental interest, that if this Transcendent Consciousness identifies Itself personally, it is going to identify Itself in terms of Christian Godhood identity (already happening), namely Jesus, and perhaps a Holy Spirit identity with a difference, but since the connective consciousness’s advent began with a feminine Holy Spirit almost thirty years ago, I expect “Jesus” this time around. That doesn’t mean They’re the only names and identities that might get bandied about. (Offhand example - lyrics))
The goal and/or considered outcomes:
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Isolation and delineation the active existence of a Transcendent Consciousness operating inspirationally within humankind in the artistic context of current popular music, within the universal unconscious. For atheists this will prove testament of a transcendent connective consciousness operating in humankind, well above and beyond the internets. This at least we will be able to agree on, if I am right. (We can have our debate fun about which of the two of these premises will actually work or fail in building a connective consciousness later, if something actually proves observable.)
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There’s a good chance that the Transcendent Consciousness will not opt to do this at this particular moment (register It has appeared briefly in the past, but as an unidentified spirit, not as an identity, which could happen again). That will give me a conclusion as per what the Consciousness wishes of this moment, and of the entire transpiration of the past, which will provide an acceptable conclusion for me and It/Them/Him. (This time around, if an actual identity appears with personal attributes that is going to compound the question of what exactly is going on? I posit that in terms of orchestrating a multifaceted work of art that appears in a variety of facets through many artists over time and evolves over time and has an overall singular object, we are already dealing with a transcendent consciousness as Entity that creates transcendent artistic concepts.)
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However, if none of this proves out or is apparent, the alternate conclusion is that this is a trauma based reactionary delusion of grandeur. You are unlikely to change my mind and persuade me to accept that conclusion at this point. The layperson is in no position to offer this conclusion, especially since I have performed the exact same proof exercise individually twenty one years ago to one of the key songwriters in question, and the songwriter appears fully convinced. (While another I met personally over the above premise is stealth bombing my name using veiled Biblical references, and another is using my birthday on his first release post communication (October 2019).)
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It is for your benefit, and by that I mean who this is universally and individually addressed to simultaneously. The actual benefit of this revelation is for you. The attempt is because there is no reason, to my mind, for the entire thirty year process unless one is able to externalize it and make it translatable and communicable to the world at large. (You take the risk of going, you come back, you share and communicate what you have discovered; only then is it beneficial. The third step has yet to happen, except perhaps exclusively with a few individuals.) The point of proof, meaning where this enters the threshold of becoming potentially provable, would be to address an unbeliever (in the Christian sense) who is a behavioural psychologist whose interest in the existence of such a Being would be arriving at an evidentiary basis to believe in one. This provides a qualified assessment. The question is whether it will prove observable (or not) at that standard, and what a qualified assessment might be from someone who has an atheist’s understanding of Christian cosmology. For the behavioural psychologist, this is in your interest because your interest is discovering the truth. And I will need your assessment in order to present any premise to even serve my potential obligation to all the other artists you will hopefully witness, that I consider potentially involved in this. If I am right, you are being apprised of not only the biggest potential discovery in your field but in perhaps all of science, let alone religion. As an audience, I'm presuming there is none better to post this to.
Why do this:
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Goal 1) is, to my mind, the requisite challenge that what we will nominally call “Big Tech” has set itself up for with the advent or present goal of global digital identification, ID2020 (“77,000 data points on every child”), and an online censorship regime opaquely conducted by algorithm that is not rationally driven. Our technological transcendence is a human goal arguably on the verge of totality. This exercise presents that our spiritual development is integral, and moreover has been so far ahead of technocracy on the nature and transcendence of human connection, it is already an existential fait accompli. This “gotcha” is in the sole interest of the integral and reciprocal development of the human collective along healthful lines and goals. Human transcendence is only ever arrived at through the human nature of existential sacrifice, altruism and universal love, cooperation and long frame thinking. These are the only mediating forces that will prevent the total commodification of humanity for economic harvest, along with the entire planet. This is not a competition; elimination is not in the cards. This is about integral development. The idea “we’re half asleep [morally] with nuclear bombs” has arguably even steeper ramifications with Big Tech, meaning our collective cognitive moral development needs to be even steeper to reckon with it, namely the behavioural psychology techniques applied to mass communication we’re implementing with AI/logarithms (-and that’s just the very start; -to say it’s not going well at this threshold is the understatement of the millennium).
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Yes I’d like to publish a book out of it and I need to, but that is predicated on the former considerations. No one’s going to be interested in publishing a book unless this gets a pass by the standard of qualified observation. Another way of saying it is that proving Goal 1) really exists has to be broadly positive (not just in potential collective sense but on the considered scale of humanity) for that to happen. That is not an easy question. It’s ambiguous even by Christianity’s standards.
"[M]ankind in some sense, just having a small glimmer of understanding about how it is progressing through the world I think is now almost completely eliminated, and not in the way that I expected, we actually have access to much more knowledge about how we work than we've ever had before, but it's being eliminated through the speed of informational processing and therefore the speed of the change of knowledge, and that's rapidly moving into artificial intelligence; -the algorithmic processing of knowledge is moving into artificial intelligence, and while artificial intelligence is just another kind of algorithm, I think the scale changes that have occurred in the last seven years are significant enough to classify it as a qualitative change. And that qualitative change means (in my view) a very serious threat to the stability of human civilizations (-not that they should be too stable), and the ability for human beings to organize their fate in an intelligent manner." -This is the first thing Assange had to say in the last broadcast from the Ecuadorian Embassy he was ever allowed to make. We are miles away from the thresholds we need to be, though in reality what I’m positing is, actually, quite a number of us are so ahead of the curve you’ll never catch us, and given your ramifications we’d have to be, so let’s let the genie out of the bottle in the collective interest.
Now granted for both Goal 1) and this ramification to reach public parity, that would mean this transpiring in a public field with public exposure. I’ve always wanted this to happen, but am still hesitant and am considering that private discourse may be the sole course this should and might take, as Goal 2) is a considered outcome. It is even a Biblically considered outcome. Maybe the current thresholds suffice. But if I have an obligation to the potential other artists to honour, then obviously a private exchange as per the individual this was framed and written for is insufficient for the matter at hand. Again, obviously, the course of action will be determined first and foremost by if and whether this inspirational feedback loop I have been observing for nearly thirty years now renders itself provable in a clinically observable manner at this present threshold, or not. I will try and make this suitably entertaining as a narrative. I hope it’s some actual fun. Rest assured you are dealing with an individual with a sense of humour either way.
To make this successful from an evidentiary standpoint, I will be archiving every post concerning this so that they are time dated time capsules, which is the only way they can provide potentially supportable proof in real time. That is the only reason to do things online, above and apart from communication.
So, some caveats and preambles:
I have only performed this with one person successfully a little over twenty years ago, meaning there was only one time I attempted to turn the inspirational universal feedback loop into a proof exercise, and I was compelled by the apparent dichotomy of my object (he appeared to be having a personal existential crisis because he found the question of God’s existence indeterminate), as well as a set of personal circumstances that made it too excruciating not to try. I did it because he was so integrally involved it either existed at that nexus, or it never existed at all. (The iBook records that too, and he’s songwriting about what transpired in the book with that encounter eighteen years later.) So we are dealing with a once in twenty year opportunity I’m running late on, because what I’m going to relate is, “What happened to me last summer”, as in two summers ago. Basically this will be an online, hopefully digestible distillation of an 160+ page letter I sent to the fourth artist I’ve ever tried to present this whole situation to last December, meaning the four I’ve ever addressed in person using the printed word. (There was one more. If that comes up (and I expect he will), I’ll be obliged disclose it in the interest of full disclosure, which is a shame, actually, as in retrospect I shouldn’t have been wasting purely objective contexts on a whim, but it was a small independent publishing house helmed by a musician.) I don’t know whether he read my communication or not, and will only know if he incorporates the content sufficiently artistically in the future. We are dealing with a situation where he has yet to produce anything post encounter. So potentially that is the circumstance with two artists not just one.
So, how would you isolate Goal 1) (the only goal I care about) in a manner that might prove acceptable to the field of clinical psychology?
Try this on for size. I call it intercepting the universal feedback loop:
If you are able to convey an interior spiritual experience that you expect to have universal ramifications ahead of time explicitly enough to provide sufficient unique detail, and that correlates in the subsequent songwriting across a spectrum of songwriting artists, enough to subsequently reference unique points of the narrative comprehensively, then what is in fact happening?
That is my question. For me is has been an existential question since the beginning of 1993. I have put a lot of conditions on that question in the past. The first is evolution over the course of time through collapses and rebirth and whether that corresponds accurately, and whether the archetypal symbolism persists, meaning the arch-types happen to follow pre-existent active dynamics that happened specifically, and this happens with enough specificity to adequately ground the arch-types. (It’s done so for twenty-eight years through three differentiated collapses/rebirths. This is the third rebirth.)
The test of relational correspondence over time cannot occur in a snapshot, so in the moment, what happens is that the existing circumstance as expressed is tested via whether a complete synergy between arch-types in combination with comprehensive environmental, personal and circumstantial specificity will “just happen” between the interior narrative and a broad array of songs subsequently produced by an array of musicians. An archived, dated narrative will supply the necessary specificity. Bear in mind for the premise to operate, I don’t have to disclose to you whether this was an interior mental experience or creative fiction. Unless the premise demonstrates itself to be provable its origination is not relevant. Also, given the time lapse in the production of creative output coming out comprehensively, this actually took four years to demonstrate the first time I tried to make it a public experiment.
(There is an inevitable time lapse from creation to production to release. Due to the Covid shutdown hampering group studio session recording and touring/public performance the delay is exceptional at present. For example, Damon Albarn’s pending November release was begun at the start of the Covid shutdown, and Coldplay’s “Higher Power” was written January 2020 for the Music of the Spheres release this October. The delays mess with overall timing in a way that has never happened before, which means that a much larger (time) frame of reference is being produced than normally would, and this will reach back to the state of personal loss and devastation that was resonating through the collective awareness before the last rebirth. These two examples happen to fall into this assumption, which is not the same as asserting I’m right about them. The upshot is that this messes with the nature of the feedback loop I'm asserting, an unknown that has never happened before.)
Given the number of artists I list below where this has the potentiality of occurring with (based on the last twenty-eight years of it occurring), this should not come as a surprise. Twenty one years ago when I performed this exercise for one individual (Billy Corgan) I was able to reference about a dozen different albums (and there were more I didn’t cite) by the time I left off (that seems pretty conclusive), some albums almost entire. That naturally can take a while to happen. (It may or it may not.) It is the comprehensive nature of the universal unconscious inspirational feedback that demonstrates, when grounded in specificity.
As for arch types, I’ll give you some, as in a try. Bear in mind though that the symbology attached to the arch-types is often exclusive in the sense that it is created in real time over time, meaning the list is by and large self referential to what has already occurred in the lyrical feedback and in the main created by what the artists have done inspirationally over time, and therefore changes in time, meaning there are an array of specific symbols that arise and fade in and out of usage and are applicable to certain points in time, with new ones getting created over time, and no way to know what will come into expression for the first time (or on the other hand disappear, or what will resurface). Ones that are self referential in the collective sense to prior creative output may come up; -in that case the iBook can be used to reference them. And yes, I have given these arch-types or arch-typical attributes specific characteristics, (as in specificity), below. That is the point of the exercise (I hope).
Male arch-type: Sun/Son/Lion, bright appearance (blond, blue eyes); there are a lot of terms (anyone who has problems with that one hasn’t registered the contest between King David vs. Michal)
Female: Moon (One, two, three, also red moon, (Smashing Pumpkins at 0:42, Jack White)), Star (-Also here: -when in tarnation does a personified “Polaris” appear to “start the inspection of the line”-? This does exactly that by listing them.) Eclipse (U2, Bowie), Rose/Pearl/Mercury (astrologically based-Gemini), Rain/snow (as opposed to Sun), dark appearance (pale with dark hair (1:24), brown eyes), “Lamb” might be new, (name based), the colour blue, white appearance or white robe (black and white stripes have also been a thing). Past terms include Porcelain, Lemon, Sister, Salome (dancer) -one, two at 3:03, three (the video is deliberately playing off the play by Oscar Wilde by inverting it)); -there can be unusual combos on the above symbolism.
Dual: Lotus (lotus/moon combination) Tree of Life (might as well bring up the bee/honey analogy while we’re at it), King/Queen, Groom/Bride->Church->collective consciousness, marriage (I’d like to point out that partners are meritocratic selection, as opposed to progeny/genetic inheritance being an heredity based hierarchy pattern), star, the colour blue (here), white robe, Orpheus and Eurydice (this was penned by Salman Rushdie in conjunction with his book, which was a rock riff on the myth), dancing, the garden, consummation.
Universal: the universal unconscious and the connectivity therein are represented by either the sea or the river, more often the sea. This is manifold (and graphic; -you get mermaid symbolism because inspiration as object is in the feminine, arising from the universal unconscious sea (same goes for dolphins, as well as vessels from rowboats to galleons); -I can list a lot of these. There is also a cosmological analogy where all the participants are stars, and this is a broader human universal. There is also an understanding in conjunction with this of existing as eternal spirits/souls. Birds, as in songbirds, usually represent songwriters’ inspiration or songwriters themselves. There’s a train (as in gospel train). There is also a city. We’re also pissed enough with the planet and humanity’s sacrifice on the altar of the malign “amoral” inverted “growth” economy to bandy about announcing it's Armageddon or the end of the world. We’re done: “All the money junkies are running out of veins, If you are one of them yourself you've got no one else to blame” - “Eden (To Find Love)”.
And we’re announcing it’s the rapture. (Let’s just make the biggest grand mal bet with future lyrics I can possibly make; -if I’m right, then y’all can maybe begin to digest what that means.) In the past it’s recurred lyrically here, here, and here; (-if the song is “Waiting for the Rapture”, then logically the lyric is “to save me for the rapture” (you can hear it), not “from”, especially if that’s not the only time he’s referenced it). If you understand the nature of the term, expect more of this (in the mono). Now you know why he got a letter twenty seven years later. Because this time around there will be more than just him, and I have already invited him to fire walk with me, as an observer, for the very first time. The Rapture is really the raising of human collective consciousness.
The presentiment there is a book has also come up a number of times. (One, two, three (at 4:18), four, and U2’s makes five.)
I am going to give you a list of artists who I’ve considered historically linking over time, some much longer or much shorter or more erratically than others; -some are stream of consciousness. There are presumably more than I am presently aware of (-sure the next generation(s) will kick my ass):
U2, The Smashing Pumpkins/William Patrick Corgan, Nick Cave (& the Bad Seeds), Depeche Mode/Martin Gore, R.E.M. (which currently means Michael Stipe), Radiohead/Thom Yorke/Atoms for Peace/The Smile, Red Hot Chili Peppers, The Stone Roses/Ian Brown, Love & Rockets/Daniel Ash, Bjork, The Cult/Ian Astbury, P. J. Harvey, Nine Inch Nails/Trent Reznor, The Jesus & Mary Chain, The Charlatans/Tim Burgess, Coldplay, Florence & the Machine, Arcade Fire, Jane Siberry, Tori Amos, Underworld, The Waterboys/Mike Scott, Coldplay, Oasis/Noel Gallagher, Blur/Damon Albarn/Gorillaz, Terence Trent D’Arby/Sananda Maitreya, The Arctic Monkeys, Suede/The London Suede and The Raconteurs/Jack White. Past artists were David Bowie, Soundgarden/Chris Cornell, Poe, Tom Petty, World Party/Karl Wallinger, Semisonic, Live, Sloan, Collective Soul, Spacehog, The Black Crowes and The Tea Party. The passage of all of these has been recorded in the book, many over multiple albums, (some over their whole catalogue), with the requisite explanations over time as they developed, time dating depending (the book ends in 2007, a rare few are post book). Artists regularly appear incidentally who I do not know about. Sometimes it’s a matter of one song, or one interesting incidence album. For example Sting (he did this once before when it was absolutely key; -this is how he’s doing the river now, so wow, look out), Pearl Jam, Beck, Regina Spektor, The Rolling Stones/Mick Jagger, Paul McCartney and Madonna have been in that category, but there are many more. -Richard Ashcroft got Jesus, which is not the same as going on the list, but definitely gets him this honourable mention).
In the lead are the four big fish. By those I mean some manner of consistent potentially connecting correspondence in the three (plus) decade range, a couple arguably even with every album release in that span. (Cave’s by contrast was sparse, but when he hits, he hits big.) All four have received or been sent written communication (and actually I did try to email Michael Stipe about the book; I don’t think he got it but he penned this anyhow). Three out of the four appear to have reacted by assimilating what they received into their (then future) artistic output in a serious way, which distinguishes them as ones to watch now, though Nick Cave’s is already a recently past tense precedent, which prompted me to do this. As mentioned, the fourth only got a missive December 2020. The first three received letters twenty one years ago, with WPC’s paper communications continuing up to 2005. Of those three, Nick Cave received new communication starting October 2019. Bono received new communication in June 2011, which was to give him the first draft of the book to where it was written by then. He then song wrote about reading a book.
William Patrick Corgan is the only individual I engaged in the exercise of proving the existence of a transcendent universal consciousness by demonstrating the existence of an inspirational feedback loop within musical creative output, using a number of albums. I did this because of the album Machina/machines of God. Specifically via written communications I cited R.E.M’s Reveal, Red Hot Chili Peppers’ By the Way, Radiohead’s Hail to the Thief, Daniel Ash’s self titled solo album, Depeche Mode’s “Dream On” video, David Bowie’s Heathen and Reality, Sting’s Sacred Love, Starsailor’s “Music Was Saved”, and U2’s How to Dismantle an Atomic Bomb, with a couple song citations from Nick Cave and the Bad Seeds’ Abattoir Blues/The Lyre of Oprheus. But there was also The Cult’s Beyond Good and Evil, Depeche Mode’s Exciter, Bjork’s Vespertine and PJ Harvey’s Uh Huh Her. And then to mark the end conclusion there was Tori Amos’s The BeeKeeper, also a writ delivered in person.
My first entry for the narrative exposure of this public experiment is “Valentine’s Day”, a short introduction.
The main entry is “The Revolution is My Boyfriend”. These entries are archived to prove they were written prior.
The rest of the entries will be expositions of future musical releases and how they inexplicably link into this particular content.
The first will be Coldplay’s Music of the Spheres. I want to thank them for giving me a reason to intercept the existent musical feedback loop with an actual deadline. That said, I didn’t include Coldplay on this list until I learned about their pending release. This is because Coldplay’s lyrics are so broadly generalized I’ve hardly referenced them historically, as there has been almost zero specificity. “Higher Power” adequately makes my point in terms of the higher power having a specific identity in my own head, which means the berth between the inspiration that is the song and the event I’m thinking it references are worlds apart, enough that I really can’t assert anything about it. Nonetheless, I’m giving it a go. We’ll see if I’m right or not about the revolution.
The deadline is NOW. As in today and not a day longer. Tik Tok.
This morning for reasons that are obvious to anyone who would read the above proffered writs and witnessed their latest single, Tears for Fears are now added to this list. (Saw "Tipping Point" October 11th.) So is David Gahan's new release, though it cannot be subject to public analysis, first, because the letter did not go to him and the question of any in band sharing is moot, and second because I will not be referencing a personal letter, only the abridgment. That release, Imposter, (which is a cover compilation), is November 12th.
So, a list, presently of where this will be observing first:
Coldplay, Music of the Spheres, October 15, 2021
Tori Amos, Ocean to Ocean, October 29, 2021
Damon Albarn, The Nearer the Fountain, the Purer the Stream Flows, November 12, 2021
Sting, The Bridge, November 19, 2021
Tears for Fears, Tipping Point, February 25, 2022
-I list these with the caveat that listing does not mean much in the sense that artists can dip in and out of arch-typical themes at will; -you never know what's coming and the above have not only been rare, one never was cited at all. That's part and parcel, the risk to any bet, meaning it's a real bet. Still think what's going to happen will shiver your timbers.