#maybe with some residue influence of cadence but that's not the problem

[the-small-cimarron-paparazzi]

But. Before I can get every single thing from the Journey of Canon sorted out to write linearly and responsibly.

One of the not-sure-good-or-bad-the-point-is-maybe-only-in-that-unseen-percentages-are-unlocked-well-probably things from having finished the jpn canon.

(Slipping another in: I really enjoyed the Prison Arc and the last volume of Seisa Arc where everything is moving so vigorously forward. Not that any other volume was un-exciting, Ma never can be [sinful triple negative], but seeing sensei running all gears at a solution she's so good at was really exceptionally Memorable. I kinda treasure how this is now see-able whenever that little bunkobon is read. Bunkobons are so incredibly tiny for that experience.)

Is discovering my previous take on how Saralegui appears in the eyes of Shinma people (or mainly Yuu, whether you look for ship or plot clues a large part really would be Yuu. or in fact character study... I still don't think I know my boi very well) when Seisa ended was surprisingly rather more pessimistic than things look?? Even before the final volume there were conversations mildly....under control. (Yuu-chan really is very good with people. He's kind to general suffering strangers and affable with his circle and doesn't panic during and after crises. Not something I can pull off even at well past 16.) And the boys parted ways more-or-less-friendly talking about truths of the arc/what has been brought up on Alazon, and about Yelshi and Seisa: about how he will see and where he'll head. Though not in a close way but you don't really do this kind of talk while standing very far apart (or was it Sara breaching where they stand by earlier talk and actions) and there's no distant "good riddance". I don't know what to think about this even now (though seeing how traumatized Yuu is in Prison Arc about a king being responsible for people that work for him, the inclination is to still think about it as what happens between roles, and maybe also something from Hazel--in MA the female characters are actually really important come to think of everything from Suverera--not really about personal views or feelings. i do even have more on this though it would be about Sara and Yelshi) but it certainly is more open-space a view than what I thought it was all about. Me being me this has gone to fuel how to look at sensei's possible plans of the book. Not in-house, but in a way dougyousha, a little further than colleagues. You also be decent to build your ideal world without excluding the overly-a-handful-scheming-dictator. But they may not even come live in it. And that's...ok? and that's the final shape of the world your share, or maybe not final because things have been changing and there seems to be major plot ahead. But you have shared a journey and some fogs and been cleared away and you are on I-know-you-to-the-bottom-of-that-abyss-of-yours-and-you-probably-know-me speaking terms.

My pet theory of 2018 (last sane day of my life, nearly) was that in the first four books there is a certain amount of Saralegui in the background being shiny with sins and bloods. Even before that there was the "passing through Small Cimarron in Carolia Arc has some info on him too", admittedly from being hungry for any info at all. And I thought Seisa was his Arc as in him in action, or in plain narrative, or unthinking innocent things like that. But no. It was just for getting to know him. And probably things that are known would not even stay in one place for the purpose of what story might be waiting to happen. (From the Earthly Soukokus it really seems to be about living your own life in between other's wills....the thing Murata mentions with Kenja's soul records in Until He Becomes Maou, and the thing Harry Potter is supposed to be about too.....MA is definitely very compatible with the experience of living as a female person in Asia and fits very comfortably with me...well, you're reminded it was marketed as Shoujo Shousetsu, and know for a fact it does a very good job on every front)

Sensei says we're at 60-70 percent into the story. Seeing how meticulously MA is written, I shudder and also hope to think.

[ericleo108]

〰️ The Unconscious Mind in Media

🔥This is an update to “The Collective (Un)conscious in Music & Media” which is now in two parts. There’s this part and 🎤Music Artists Composition and Communication which is the conscious part of music, but what about the unconscious? This treatise explores the subconscious mind and how it reacts to music, ETM, and the gods.

Points of Realization (POR)

One thing you will notice with the collective unconscious is what I like to call “points of realization” (POR). This is when you find yourself doing something physical in real life that is in associated coordination with the music or media. For example, notice if the song says “I opened the door, went into the kitchen,” you’ll be opening the door to go into the kitchen right as the artist sings that in the song. For an actual example, I have caught myself on multiple occasions while driving noticing I was turning on the bright lights right as Taylor Swift sings “headlights” from the lyric “Midnight, you come pick me up no headlights” from her song “Style.”   

Anecdotal Example

The following is an anecdotal example that I logged. If you pay attention you’ll see they happen often.  At around 1:30 AM on October 17th I was in bed listening to Taylor Swift’s “Everything has changed” and I was feeling hungry. I made the decision that I was gonna eat an Atikins bar so I jumped up, grabbed a bar from the shelf next to my bed and right as I opened the package Ed sung “and opened up the door for you.” (Right after, Taylor sings “and all I feel in my stomach is butterflies.”) I know I wasn’t opening a door but I was still doing the act of opening something right as the song said “open up.”

This brings up the question, did I grab the Atkins bar because I made up my mind about eating it and subconsciously reacted to coordinate the time of me opening up the bar with the music? ...or did the music, with it’s (also other associated) lyrical content (e.g. “stomach is butterflies”) make me hungry and drive me to grab that Atkins bar? If it did stimulate me to action, what does that say that I was in coordination with the music?  Was it a combination of both influences? I would say this is random, chance, or happenstance but it really happens way too often to be a fluke!

POR are real, they happen all the time and you just don’t notice your physicality is in coordination with the media. This means your brain subconsciously syncs your body with the media and calculates and coordinates the time and action to have POR!

The Problem with the Mirror

Your mind reflecting the music makes sense because it is your brain recognizing the music, it’s pattern, and timing and coordinating it with your actions and physicality. You’ve heard it before, you’re merely reacting at a subconscious level. That should make a lot of sense to people.

What’s more confusing and concerning to people is when POR happen and you’ve never previously heard or seen the media before. ...because what does that mean? Again POR exist and are you “in tune” with the media you’re consuming. This tells us there has to be a natural collective unconscious, i.e. BLU🌐, that you can tap into or an external manipulating entity like ETM coordinating the reflection if you’ve never consumed the media before.

Action!

POR are real, it’s just that no one really notices them. POR are synthetically coordinated all the time in music videos and by movie directors but for the most part it goes wholly unrecognized. Cognition precedes behavior and drives you to action.

There’s countless stories of artists being inspired to write songs from action/events like Eric Clapton’s “Tears in Heaven” which is about his son, or “The Star Spangled Banner” which is about the War of 1812. People driven to action from media is what advertising is all about, that’s the whole point and purpose and it works well. This is what large corporations do for marketing products. Not only are there commercials between shows but there’s product placement which is placing an ad in a movie like a Coke and Lays chips in “The Edge of Seventeen,” Dr. Pepper in the original Spider-Man, or Reese's Pieces in “E.T.”

Other examples of people moved to action by the media are Travis Reinking, as discussed in the Cry About It journal, and John Hinkley who tried to kill Ronald Reagan to impress Jodie Foster after seeing “Taxi Driver.” My whole argument in ETM and ETM2 is that media, specifically semantic priming, drives individuals to (pejorative and self-defeating) action. Movies and popular music videos are used as an anchor/primer (as discussed in ETM) and drive individuals to action through news and commercials as briefly described in the “Corporate Ideology in Practice” section of The Fascist Capitalist Nazi Ideology journal. For more information on these capabilities consume the media from the “watch” section at the end of ETM, specifically PBS’s The Persuaders and Unconscious behavioral guidance systems.

Marketing

If you think this is complicated think about how the collective unconscious becomes exponentially harder to grasp when you think about how shows, movies, and news, are all interwoven and how corporations in their commercials intentionally do subliminal advertising all the time, every single day. What is the use of these influences, by sheer market forces literally competing for space in your mind, doing to society? What a responsibility marketers have to society!

The Real Problem

“You can’t be told what the matrix is, you have to be shown” ...and some people just can’t see it.  When Columbus came to the new world shaman/priests had to show the regular citizens that there were actually boats on the water. The regular people couldn’t figure out why the waves were breaking. The priest had to explain to them that there’s a ship there which is shown in the linked clip from “What the Bleep do we Know.”

The Unconscious in Music

Sampling is when you take someone's specific lyrical cadence and match it intentionally. However there is a certain pattern in the music ethos that reflects a more conscious sequence that seems intentional but has to be a reflection of a form of collective consciousness as exemplified in The BLU🌐Treatise. What I am specifically referring to is the use of words and phrases that were being repeated at an unusually high frequency in a short period of time (i.e. trending). The genesis/origin is unknown and seems spontaneous because there are so many rappers coming out with the same words/phrase at the same time. As discussed in the Societal Cornucopia journal there has to be a collective pattern that makes these trends spontaneously generate and flourish. ETM can synthetically create such patterns but the whole of the pattern is dominated by BLU🌐, the mind of humanity.

The best example of this I can site is when Jay-Z released “The BluePrint 3.” He rhymed “iPod” with “my god” and the ethos didn’t stop repeating (especially) “my god” from other rappers until Eminem’s lyric on Roman’s Revenge.  This makes sense because as discussed in The BLU🌐Treatise the mind of humanity is dominated by BLU🌐.

Here’s the example (and progression):

“Blueprint's in my white iPod. Black diamonds in my Jesus piece, my God” - Off That by Jay-Z released September 8th 2009

“In the back, I sit and I nod. To the beats that are bumping from my iPod. My God, they're starting to pray.” - Rant by Bo Burnham released October 2010

“Quit hollerin' ‘Why, God?’” - Roman’s Revenge by Nicki Minaj (Eminem’s lyrics) released October 30th 2010

This evidence shows that (basically) the conscious or unconscious mind (of the rapper) picks up on “it,” whatever it is, consciously or unconsciously and responds consciously or unconsciously. Either way, there is a response. Whether the creation of this reflection-effect phenomenon is deliberately created synthetically or naturally or if it can even be controlled needs more research/study and is debatable. However, the fact is the created trend is there! I call this reflection-effect phenomenon “residual echo.”

The “my God” trend seems like it may be synthetically created but you would have to have controlled conditions to account for individuals that could have started the trend and just informed the trend-setter (e.g. Jay-Z). This brings into question whether if Jay-Z started the trend or just built of its momentum and we just noticed it start with Jay-Z because he’s popular and in the public eye.

Pandora’s Box

Questions abound like: Did Bo write his lyrics before Jay-Z published his? Did Bo sample Jay-Z intentionally? ...or maybe unintentionally? Did Eminem (un)consciously catch on to the “my God” trend and that was his ([un]conscious) response?

There would have to be public cooperation for a conscious goal of gathering resources and analyzing the data to identify the origins in trends and themes in music. It would be data driven for the most part but a similar prototype interview would have to be conducted in full cooperation of the artist(s) to get “in the mind” of the artist and therefore the collective conscious to attempt at trying to understand the created the trend in question.

We would have to interview artists of all statuses and ask questions like: Have you ever written down a lyrical progression that was similar to one that someone else released at a similar time? Have you ever written lyrics that you didn’t use that someone else later used or sounded like they sampled you? Have you ever written any lyrics and then noticed it was similar to one of your (favorite) pieces by another artist? ...have you ever had anything similar happen?  etc.

Basically the point is to get into the mindset of the artist and ask specific questions from a questionnaire created specifically to identify attributes of the specified part, i.e. trend of the collective conscious. As you can tell by reading Stolen Ideas, ETM does this naturally from birth as explained in ETM2.