“Hello, it’s me again. (The woman with who gave you the Irish Millennium coin at the Hideout last November. – See, association through tangibles has its uses.)
Well
Actually I’ve been thinking of doing this
for [many] month[s]
It’s time pretty much to wrap things up
The Mystery Revisited
Or shall we say looped
Circle Complete
I told you, just watch, it will bend
Did you think I was hooped?
Feedback is as feedback does, or so I say
We have arrived, at what I’ll call, a sufficient matrix
To demonstrate
My reality
What do you say
I realize this is sort of redundant
But then, it’s like colouring forms you see as lines
I guess I just realized,
I hadn’t finished what I started
Didn’t delineate why I arrived . . .
If you make a pitch, you have to follow through on it
I think the words speak for themselves
But perhaps they do need filled in
With colours
Perspective
What are ‘lemon trees’ and ‘lotus kids’???
They all mean something, collectively derived
Meaning so deep
Inside Grace’s pearl
So, I said the contest was,
To determine if I was indeed real
There’s only one way to determine that, really
It’s the same way I’ve observed
To delineate everything
The FEEDBACK LOOP
Perhaps you haven’t realized
There is no ‘here’
If you’re going to build beyond perception
It’s there only when . . .
‘unspoken words are understood’
or, when, the picture in your mind
gets rendered from someone else’s
then you know there’s a connection
then you know what you thought,
is real,
but only then.
Otherwise, it only existed in your thought.
It always takes two.
So what do I consider a sufficient matrix?
Did you guess why I landed?
I put my reality here (your forum)
Enough
To make you see the loop yourselves,
There for anyone who could read.
So let’s review then,
Take a look-see,
And you tell me,
Whether you think
The feedback loop really exists.
Then we will have established
My reality,
In a way that you can see.
I never used the past,
You would never believe me if
I told it to you
You’d just think I was making it all up
But I can use the present that I put here
And you’ll see
My ‘present’ lasts a very long time
By using ‘our’ present,
The one you were involved in,
(I landed and involved you)
I can explain things without telling too much
Or going on display
In a way that’s utterly cheap
If I just explain ‘the present’
That will be plenty enough
I’ve decided it’s time
(characteristically)
for complete candor
(duck if you can)
and,
this is all you get.
THE EXPLANATION & THE WRAP”
“Yer little ‘contest’ put me in a position where I was forced to assert my existence, because your denial, your assertion of having created the whole ‘story’, had the capacity to deny its whole reality. What a waste of degradation that episode was.
And yes, there is only one way, really, to demonstrate my reality, and that is the feedback loop.
How could you say soul links really exist, and that we really relate there, and that the ‘june’ you were relating to, was always real?
Well, what do you think of my postulate? ‘june’ really is a universal idea, that exists commonly in many artists’ references, and I’ve a nice list of artists (CHAPTER 4) that are deriving from the archetype at the very least, in fact, they’re doing more, they’re relating there.
Of course, anyone can interpret themselves in a set of lines, that’s even their premise, this common identity. But I’ve never done that.
I mean, if it really derives from a common consciousness, say, where you and I and them are indeed interactively linked, then the events I perpetrate in terms of this universal awareness existing, those sensations and beliefs, have to come out in a common way, that shows they were common experiences, and they have to be rendered and come out after the event.
Meaning, if you are, somehow ‘june’, then this cycle will be following you around, and it has to be doing so in an indicative way that ties in, with intimate and unique detail, to your external environment, meaning, your context in reality is being accurately described too.
This is just ‘level 1’ of my testing criterion, in fact, the first step I applied, and it is purely observation, nothing else.
What I was trying on your forum, was prove my existence in an interactive way. By opening my present epiphany and purveying it, and seeing how the next two years of albums ‘shook down’ after the fact; did it come anywhere close to showing that there was an interactive matrix, or that indeed, it is not simply inspiration, but interaction with an individual, who already exists in terms of a universal consciousness? You see, if I can demonstrate that these arch-typical songs have detail that are involved, in fact, in a cause/effect relationship, then I’ve demonstrated that this feminine archetype, is not archetypal, or a universal idea, at all. It is only universal through its nexus in reality, and if that detailing follows me, its universality, is in fact, me. Anyone can claim they are ‘june’, but would they really have the context, the circumstance, that the songs will follow their own present with enough detail to demonstrate that it’s true?
“Everyone who read anything was simply being asked to use their own faculties of observation, of the subsequent reality, to see whether there was any indication that these artists indeed seemed keyed into my existence somehow and indeed ‘followed me around’. So, here we are, and no one had the patience, or faculties, to judge for themselves, and your administration insured this was the case. Doesn’t change the fact, that I graduated the proof exercise based on ‘intercepting the feedback loop’ to a tangible, external level, and it effectively worked.”
“I can demonstrate the awareness is universal, and doesn’t just involve you and me, and that they all interact much the same way you do. That way you can see it happening, between me and them. Then maybe you’d be able to listen, if I tell you about the part that was between me and you. And, there is a relatively simple way of doing this. You are going to know that I am in no way contriving the past, because I am referencing writings that were logged onto your forum with log dates (see bottom of each post), and all the html pages are here. I am going to show you how well these historic posts of mine tied into the feedback in everybody else, the subsequent albums of some of the other involved artists. That way, you can know that I am in no way contriving the past. It just takes time, proving myself; the problem is no one has that sort of attention.
I am nothing if not thorough. You are never going to escape the fact that you heard of this and it was a viable proof, that it held a possibility of reality.”
In addition to being her whole premise, this is how the notion made mention in her inclusion of “The Trip”:
“THE TRIP –[…] There is only one establishment that’s important to the whole thing, a progression that was very serious for the universal’s survival at the time. It was the understanding of building transcendent realities, and how the transmission beyond perception had occurred not just during the born again process where Jesus & Mary Chain (JAMC), say, felt and experienced this through ‘Sister Ray’, but that the same thing had occurred through my asking and your answer, a troth that had transmitted and been rendered in Machina. And if that transmission conferred it a form of transcendent reality in the same way, it put that reality in a place where you could not actually have destroyed it in your performance in Seattle, this question was still determinant. The only way I could look on that whole encounter as possibly not being completely and utterly destructive was if I assumed the understanding that you were attacking the image, and the image, of course, is not me. There’s no debate here whatsoever, because I transformed the image –that’s what the S.P. is about.
I think most of the rest is falderah after the transcendent reality conclusion.”
The challenge was reiterated as follows in its original form:
“It’s hard indeed to know where to start, but I suppose, I’ll begin where I ended, at the Part IV: (posted early Feb. 2001)
“<<<THE MYSTERY OF MACHINA FORUM CONTEST PT. IV>>>
Ooh, looks boastful, doesn’t it??? I bet you’d need me to send you the page, just to prove that I posted it. So I did –it’s mmall html page. Actually I posted this statement twice, and mmall was the second time, later than the first (it got needlessly elaborate).
Do you need a definition of ‘feedback loop’, just in case? I posted that right along with it.
So let’s start where I started, and go on from here, shatter my mystery; make it perfectly clear.
First up: REM’s REVEAL.
Of course the entirety of Reveal has been more than sufficiently plumbed to its depth, but maybe in light of the “science of reality” quote, it’s worth mentioning what she said about “You’re Gonna Be a Star (All the Way to Reno)”:
“-Ok, so this song is obviously about someone trying to make it big in the big city of lights, trying to strike fame. Once again it’s one liners that give it a twist, and the twist, once again, is uniquely analogous. And that allows me to point out what ‘star’, in terms of the feedback symbolism means, having nothing to do with stardom. It’s literally her personal symbol, you know that. And actually it was Bono who ascribed it, something he started into in 1991, and made a specific handle with ‘Hold me, Thrill Me, Kiss me, Kill Me’ in 1995. It’s either star or moon and he started both. Star is more the more personal of the two because of these two in Bono’s nomenclature, moon is actually deriving from someone Else, while star is just hers, and later becomes a name. It’s still being used heavily, and what it forebodes here is arriving at a place where the reality of that personal transcendence is visible and acknowledged, not hidden, and everyone being one because we’re all connected in it on the same level (‘We Are All Made of Stars” – Moby). So ‘star’ connotes this new awareness we’re existing in that hasn’t occurred in humans before, we shine as spiritual lights, and actually we’re interacting as such.
The general sense of the song all naturally fits, especially the idea of leaving to become it, and whistling the ‘rules of change’, because while it doesn’t look it yet, the S.P. has that potency within it. Significantly, The S.P. was the first time I’d laid out any basis for this whatsoever, and in a nutshell, it is the one thing that does define the collective awareness because literally, it is the transformation spawned by the S.P., that went through the collective, that defined the collective as a unit; it is the transformation in itself that defined! More interesting in terms of lyric, though, is ‘you’ve dusted the unbelievers, and challenged the laws of chance’. If you had seen the hostile climate I landed in on your forum, you’d well agree I should have had ‘kick me’ written on my sleeve. What no one grasped was the significance of what I was doing, and how the principle of articulating the now so the reflection could be seen in the future, that sea change shift in asserting one’s self with such confidence that it would prove itself through the feedback, really was dusting all the unbelievers, who were themselves.
Another thing I wrote about in the Journal before I left the country, was about how it was literally challenging the laws of chance. By going to Ireland I dropped out of college and staked all my savings on the premise that chance would bend to my necessity. I was landing in a city of a million people in order to find one individual who would be very hard to reach. I was fully aware of how this was challenging the laws of chance, enough that it freaked me out. And actually chance was heavily involved to an extent that indicates it was no chance at all, up to and including turning into the same hallway at the exact same second and meeting in the middle, where I was able to deliver the SP, which I’d brought to the hotel that very day. The laws were challenged and they did bend, exactly like they were supposed to. Chance can only get you so far in the face of utter bricks.”
This was later further explicated by this statement:
“-Despite ‘destiny’s’ pull, I was during this entire period, a malleable subject, and I was viewing the circumstances as direct influences, placed with an Organized Intent, as the instrument that should be molding my psyche. I kept seeing, over and over, that I was encountering things at the exact moment I was supposed to, and seeing as I was running into things at these precise moments, that meant that in an absence of any other indicators, if these were the indicators, even so slight, they were the direction that was given. This is why recording all these events became of such essential importance to me with the Journal. The importance was in conveying Divine impact throughout the mundanity of life, my life in this instance, -that could happen in any life. I needed the record as an explanation of where/why I went, and in retrospect, I see so much more, yet so differently, there are ‘road signs’ in it I wasn’t even seeing then, or wasn’t seeing properly, -but while it shows my objectivity as a complete failure because I was so emotionally involved at that point, at least the record is still there. Phew I digress! Trusting this principle was precisely why I embraced the notion of trusting ‘chance’ to bend to my necessity, that I could find one individual at precisely the right moment in a city of one million. It was really about faith in the principle that Circumstance was being Applied when it needed to be applied; nothing to do with ability, or chance. (See if I was faithful, I shouldn’t have been so freaked out. These principles are still applying, right up to running into your neighbor on a city transit bus in Chicago, btw, which was a real surprise.) This packs an extra wallop/weirdness when you consider that I regarded myself as having been equally ‘organized’ by an Intent, a direct symbiot with the Circumstances, i.e., I was deliberately molded in a precise way for the requisite impact, rendered.”