On Finding Your People
That is the Real American Dream, ... "Water, water every-where, ..."
Continued here:
See Terence McKenna and John Searle, Sylvie and Bruno, by Lewis Carroll - Vols. I & II
For many thousands of years before it became a reservoir of water for the greater Los Angeles area, Hetch Hetchy Valley was home to Native Americans.
So you will find that Hollywood owes an awful lot to Native America and the Great Spirit. And so does Nashville, ...
And so does New York, ...
After shooting this movie Pollock reportedly became very angry, saying that the filming was "phony" and as a result he stopped painting in this way. I think the reason is quite probably that he had a good idea of what he was doing, but that in his mind's eye the idea of a hard-drinking cowboy did not connect with the idea of a Native American medicine man. There is very little in the way of early footage of Native Americans, but the way Pollock describes his technique leads me to think his knowledge of sand painters' style was more than he could have gained from watching the above film.
The connection between seeing himself painting from beneath glass and Pollock's feelings of phonyness may have come through a kind of blind-sight type of experience, see Searle at 43:41, the possibility of which Narby hints at here: 25:14. See Terence McKenna and John Searle.
ATP synthesis is very directly involved in muscular movements so it seems highly likely that particular forms of movements occurring in traditional dance will correlate with quite low-level metabolic processes occurring at the molecular or atomic level. This gives an idea of the intricacy of what is currently known about these systems. From Mitochondria Batteries:
This is the first time I am using Glass as a medium:
It is not the first time for Glass:
Terence McKenna thought that these interconnections between cognitive and physical metabolic processes were fundamentally mathematical in nature:
This may explain how some mathematical insights, the proofs of which are unknown at any conscious level by the mathematician, often, in the case of talented mathematicians, turn out be correct and amenable to much more rigorous formal proof than would have possible at the time they were first written down. See Toby on Maths Books.
Indian and Middle-eastern musicians' ability to play very long pieces of music from memory is another indicator that the memory may be more like an abstract mechanism which produces the results symbolically in a sequence, in a manner formally similar to the way a computer unfolds a program for calculating, say, the Bernoulli numbers.
David Lynch with the weather in L8 today: https://youtu.be/cIS4ZG5OgL8:
The idea of change from the kind of change that comes on a bomb to the kind of change that comes on a song is one that came to me when I commented on that Terence McKenna interview a few days before I consciously heard it in Lana's song:
6:38 It is easy for me to see, now, that this sense of a denouement and abrupt discontinuity is an inevitable consequence of people's resistance to real social and psychological development. Without that concrete ground of belief, there is no sense of finality because there is no concrete structure to collapse. Writing this I suddenly recalled that scene in the movie Contact where Jodie Foster's spaceship is vibrating more and more violently and seems to be about to tear itself apart until a piece breaks and then just floats tranquilly in the air in front of her. It was only the crudely engineered technology that was falling apart, the flow of knowledge and being was much easier once that seat thing was no longer in one piece. Contact is a great movie! Here's the clip:
39:05 This idea that the laws of physics are evolving is unnecessary. It seems much more likely to me, c.f. the above comment, that what is dissolving are the concrete psycho-socio-economic structures which have been constraining our thought to rigid laws, and allowing us to think more naturally and freely, just as people thought in times gone by.
From Lana Del Rey's Violet Bent Backwards Over the Grass:
David Lynch's thinking about heat and 103° was probably a conscious reference the forecast heat-wave and also this post I made a few days ago: Altered States of Consciousness Through Disease. To me this suggests the idea of collective intentional states of consciousness. But such states alone do not produce poetry without the internal organisation of conscious memory which responds coherently to the conditions. The former is the formal cause, and the conditions are merely the efficient cause which triggers the poetic process. The change of change is analogous the one depicted here at 6:10: it is as if the view from a distance takes in more of the natural context of the city and the violence is no longer so evident, even though the energy involved is far, far greater. I wrote about this in 2010, in the context of physics and urban design, but I no longer have any copy of what I wrote available.
I think the release of Lana Del Rey's book will prove to be part of the material cause for some change in the collective conscious intentional state of Southern California, and then, in time, the whole world.
See McKenna at 33:32 (2012 seconds) on information as "the new water". For more on science from the top down, see Julia Galef on Aumann's Agreement Theorem. Here is Aumann's original paper. Here's Julia Galef on how to join together separate public spheres:
See On Individual and Collective Human Conscious Action and The Creative Process Writ Large. On the difference between brass and iron, or the difference between waking when you are awake and waking when you are asleep:
Now see Polly Boiko on Freedom Of Expression.
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