PUBLIC EXPERIMENT ON THE EXISTENCE OF TRANSCENDENT CONSCIOUSNESS USING TIME DATED ARCHIVING
INTERCEPTING THE UNIVERSAL FEEDBACK LOOP
IF YOU WANT ALL THE HYPERLINKED SUBSTANTIATION FOR THIS PROPOSAL, you will have to crack the long version. THE FULL PROPOSAL (because this is really complicated), IS HERE. Note it is archived (fully existent) on October 5th 2022, which beat the date of Tears for Fears’ first video single release for The Tipping Point.
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.
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.
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:
Isolation and delineation the active existence of a Transcendent Consciousness operating inspiration-ally 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.)
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.)
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).)
Why do this?
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.) This provides a qualified assessment.
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.
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.
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.
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, proving they were written ahead of time. That is the only reason to do things online, above and apart from communication.
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.
So, how would you isolate Goal 1) (the only goal I care about)?
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.
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.
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. 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. 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 (also red moon), Star, Eclipse (U2, Bowie), Rose/Pearl/Mercury (astrologically based-Gemini), Rain/snow (as opposed to Sun), dark appearance (pale with dark hair, 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); -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, white robe, Orpheus and Eurydice, 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 at least three times. If you understand the nature of the term, expect more of this (Depeche Mode’s “I Feel You”). 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 (think Nick Cave’s “Bright Horses”), 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 five times.
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, Nick Cave (& the Bad Seeds), Depeche Mode/Martin Gore, Radiohead/Thom Yorke/Atoms for Peace/The Smile, R.E.M. (which currently means Michael Stipe), The Smashing Pumpkins/William Patrick Corgan, 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. 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 he’s now 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. 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). -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 two to 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.
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, 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.
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
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.