"5.17"-Thom Yorke, and The Smile

5.17

Candling is a wonderfully rich verb I'd never heard before, a dimension to a world in a word. It's what it is if you listen. I also think "lanes" is plural. 

The orienting of this to a highway where lanes were changed, which is what credits the song's object as being part of a magnificent birth still in embryonic stage, worthy of anthem, was the fact that the lane change represented a paradigm shift that changed everything. But it didn't end the outcome of abandonment by the roadside, and violence for which contrition was due. (It was changing lanes in the plural because it happened on the ground but it was also happening in terms of unseen potentials, that I didn't know might potentially include Thom at the time.)

The shift didn't end Thom's position in suspension with the song's object at the scene (my point exactly, see "Ariel"), inferentially part and parcel of the the state of abandonment with the song's object, with most of Thom hanging off the ground.

This context matters in the sense that I framed what happened when I was forced to extinguish what I saw as the potential universal consciousness as a car crash, meaning it's the title of Chapter 14 in the iBook for this reason, where I attempted to describe how I set up the paradigm shift I thought had the potential to save everything, applying the essential truth and nature of love, unconditional altruistic sacrifice, total termination in the present, and total acceptance/faith/belief in a higher power, by deliberate use of a dynamic where I let everything disappear. 

I was compelled to mention, thanks to the release of "Her Revolution/His Rope" that there had been "Sorry's" all 'round, starting with to the higher power, -all in Martin's letter, which climaxed by saying sorry to Martin himself, and by extension the entire potential collective. This song was Bono's way of saying sorry for abandonment at the scene (for the circumstances that remained unchanged), which affected Thom directly in the sense that he still to this day has never gotten to find out what was on the other side, because Bono chose to maintain me in invisibility by maintaining his silence, something Thom's expressed from the inside out ever since KID A, when Bono made that decision post encounter over 22 years ago.

The B-Side instrumental "That's How Horses Are" came out after this element (horses) came to the fore with "Bright Horses" on GHOSTEEN. 

Pana-Vision

First verse: If we follow the course, there was a robe and crown bestowed figuratively (in terms of referencing happening in the universal feedback) with the redemption cycle and resurrection in 1998. This is in the iBook at p. 931, 971; -it signified making it through the cycle whole and complete through a state of holiness without being utterly destroyed. The letter to Martin was a dismantling of that auspice, dispensing with all the religious spiritual connotations, deep down in the nitty-gritty of pure psychoanalysis of the past and the parental legacy that set up every aspect of the symbolism in a truly inverted manner, ending with the honesty of "I am nothing special".

2nd verse: One of the fears of total honesty is whether it will be cause for revulsion. The inverse of that is perhaps obeisance: this is about the total avoidance of either, (thank heaven), because both postures affect and alter unadulterated perception, which is the embarkation of the third verse in religious terms, the sum and nature of the song, access to eternity in the tunnel of light. 

4th verse: there is a filter on the lens, which in this analysis is the perception of the song's feminine object, who is the functional observer of the unversal feeedback loop for thirty years now, meaning the filter on the lens is the cohesion it gains solely inside her perception. Her name, incidentally, means "wide" in Arabic, like the horizon. "She sees everything I do" is a reiteration and linkage to the song "Her Revolution" implying the feminine object to both songs is one and the same, as there she is watching like a fox. 

5th verse: well that's depressing....suffering, wholly consumed in the act of the view

6th verse: the outreak into the unlimited perspective is so broad it could shatter, and has the dual permutation of seizing an individual within the profundity of its perspective as if it's an entity unto itself with its own sight; -Thom only trusts entry because it's happened once before (with him this maps back to KID A) and is starting all over again, whereas between the iBook and the letter I'm demarkating this happening twice a little over twenty years apart, two resurrection processes thanks to the same artist that each changed everything. The last verses connote this as a rebirth so profound it is the same as being born again. 

Thom's not religious. He's like my respresentative atheist. To have this out of this corner on his terms means everything to me. It means succeeding universally. This for me is the whole point. What I mean is I tried to arrive at this out of common identity in the dynamic, not the religious connotations. It is there irrespective of religious connotations, the point being, that is what shows you that it is really there, that this is in common between us, and this sense of rebirth tracks back to it happening for the first time in 1998, though inception was actually earlier. 

Skrting on the Surface

This song is from 2009, when the breaking with WPC happened because he deliberately broke it. It's like introducing the concept of the universal unconscious sea done creepy style. It was submergence and transmission through this concept I used the first time in order to save my soul, how I employed a transformative dynamic in the face of the knowledge that the present circumstance was irretrievably broken and there was no way out, unless one materialized out of dropping under the surface. BUt in 2009 I was lost it all over again, it all disappeared on the whiff of a free will choice, and I was back at nothing, thinking disappearance was my fate. (I got shooken out of it then too.)

Having someone shake us (the collective awareness) out of suspension is something that has happened twice, both with Nick Cave, (The Boatman's Call and GHOSTEEN) twenty-two years apart. When that happens the patterning inside the unversal feedback explodes again. The question at the end of the 2nd verse is rhetorical, meaning it was asked before, and an accepted prospect, but didn't happen. This isn't the first time the patterning of the universal feedback loop has been described as a web, it was one of WPC's analogies (indirectly, namely "Glass & the Ghost Children", "White Spyder", both in the iBook) and Anthony Keidis's as well ("you're never dead spider web"- "Parallel Universe", (p. 1087) and cast back to a dream. It was also in "Trouble" by Chris Martin, p. 1557.

Basically the song's an acknowledgement of a hitherto unknown human dimension we never had before with the utility of being able to disappear under the surface. Like I said in this analysis for Damon Albarn's "Particles": "Fleeing is not possible. But you can disappear." 

The Smoke

"One true revolution" also crops up in the possessive as "Her Revolution" ("a darling revolution", a song that makes a question of whether a being is consciously sacrificed to it, female in terms of the title), so this should likely be taken as deliberately cross referential, which is interesting, because with that single release Thom Yorke already (vertently or inadvertently) tagged the most significant point in the narrative that I perceived as occurring in terms of the collective consciousness, in front of a (potentially unlimited) full gathering of individuals. (Page number citation is in the analysis of "His Rope".) This attendant incident of waking up thanks to being surrounded by smoke also has a page number, which has already been mentioned under Damon Albarn's instrumental "Combustion". "Big thing in the narrative, p. 28. Not small, no, not at all." In the narrative this happened within twelve hours of the moment with the internal imagery of being released from being completely bound up by rope, which began with a member of the collective declaring the intention to release the protagonist with the statement, we're getting you down. Thom's imagery (it so happens) lifts directly from a period time lapse of arguably the most pivotal twenty-four hours, where both the make it (and could have broken it) events happened in tandem. And to bequeath an understanding of how I perceive things, I'm not arguing what transpired in my head actually happened with someone stepping forward who said this, my assertion of the collective's existential nature is a little more complex. What furnishes that release, for me, is the fact that Thom wrote about the moment in an inspirational context I do not know the origination of when he produced "His Rope". That is the potential act that releases me. It is that act that objectively confers that something is collectively happening, not that I thought it, but that the thought actually happened inspirationally, Thom in the first person stated he cut the rope. "Turn your body over to me" sort of puts this on the level of a transcendent response, if it keeps accord with the narrative, which is possible with the statement of forgiveness perhaps as well. 

This song's theme is in reference to the album's title, A Light for Attracting Attention. It is about lighting one's self as a beacon. The above was not about that, but it did involve awakening in the middle of the night with the query, why did I wake up inside a fire? (The last time I awoke from sleep on that night; -that I was inside a fire was only indicated by being surrounded by an asphyxiating, sightless level of smoke.) And I will leave you to the surmise of actually reading what was going on that supplies all the other complexities within the song. They are the same. 

We are dealing with, as in "Pana-Vision", a second chance, an awakening, and giving ourselves another chance is equivocated with dissolution into our carress as we set ourselves on fire. How close to death was that moment in the narrative? Impossible to tell or know, but the risk wasn't physical. It was something else. The song's lyrics are really in reference to the broader awakening that prompted the query in the beginning of the narrative (at the end of the introduction), Why am I awake?, -but the implication of that is in what lies so specifically isolated from what happened in the narrative, the awakening inside smoke due to the smoke, the moment of existential danger.