An article by Sha'Tara, local writer and friend.

The Theory that Explains Everything

[thoughts from     ~burning woman~     by Sha'Tara]


"People are most afraid of what they don't understand.  When they don't understand something, they fall back on their assumptions, on their belief systems." [Paraphrase from 'Finding Forester' –the movie]

"Recognizing the essential instability of our universe one must learn to make it one's own creation." [Children of Dune - by Frank Herbert]

From my dream time:  finally a theory that explains everything worth explaining; a theory based on the principle enunciated by Occam's razor (which states, basically, that the best explanation of an event is the one that is the simplest, using the fewest assumptions or hypotheses.)

Part I—Story and Script Writers

  Here's a little exercise not beyond the stretch of imagination.  Imagine that 'Earth' as we know it is an amalgam of stories and scripts put together by children and young adults in what could be called creator schools.  As the name implies, the students are there to learn how to create various types of worlds, from the simplicity of a so-called 'big bang' to the most complex galaxy-type environment and every type of 'life' found within.  See this training world as many times the size of Earth, and think of it as being used strictly to train people on how to write workable scripts for as yet imaginary worlds, a purely academic world of schools and universities where children from many worlds are sent to become adepts at developing the creative mind.  The focus of these schools is to use the creative imagination of the students to put together worlds that in time could become self-sustaining and autonomous. Story and script writers, all of necessity possessing some degree of empathic abilities, are taught to work together, demonstrating a willingness to cooperate and to maintain a high degree of consistency while developing a world and a theme for that world, encompassing its life and its time in an appropriate section of space granted these schools for that particular purpose. 

Realize that on these academic worlds 'time' as we know it is almost irrelevant.  A one hundred year time segment of life on Earth can take hundreds of thousands of years to develop and be chronologically implemented in the 'play' of Earth.  Realize also that much that happens in these schools is highly experimental and mistakes are made, even if all participants had the best of intentions at all time and those who critique the scripts and oversee the blending experiments gave it their one hundred percent attention—they certainly do not.  As below, so above:  the power games of politics, control and money all play a part in the results.  Some students attend these schools, not to create working scenarios, but to play power games, to gain notoriety or simply to socialize and these students (of elitist parentage or peer groups) are immune from stricture by their social status—in our words, they get away with murder.  Other students, by the use of seduction or through sheer genius, manage to implement what would otherwise be unacceptable scenarios within some imaginary world or in its surrounding space.  You have your geeks and nerds who think of it as all just a game.  Add to this mix impatience, innate violence, lust, greed, cheating, these vices being played out in the scripted lives of the eventual creations.  For it remains a truism that any creation is designed to emulate the 'image' of its creator.

There is another obvious problem: the establishment, or bureaucracy.  These creator schools are often controlled by establishment bureaucrats who fear loss of income or status should their pet project, say a poorly developed world scenario, be axed.  Like our bureaucrats, they have learned the necessity of camouflaging unworkable conditions to keep their projects going.  For example, let's say that Earth was considered to be a dead end in terms of a developing world and someone's 'termination' script was accepted and put in the future of the 'Earth Play'—to be implemented at a given time; an end game, an end of the world: we've all read, heard, or suffered the effects of such predictions because every Earthian 'age' has had them and we continue to sense them coming at us.  The creator school bureaucrats whose social rank depends on continuing the 'Earth drama' would then find some masterfully deceitful way to delay, or by-pass, say a 'Revelation' type end, or the Mayan 2012 calendar ending.  The badly developed and managed Earth life cartoon would thus keep bumbling on, long after it has ceased to make any sense and become nothing but a boring, often painful and bloody, series of predictable repetitions of previous scripts.  The result is a world that keeps repeating its foolishness and mistakes in a truly sick, melodramatic soap opera.

As in all institutions there are the rebels, those who try to impose change by introducing rebellious, or counter-system characters such as change agents and power-crazed genocidal maniacs.  Enter a teacher, a healer, a charismatic dictator, a miracle worker or even a super hero or an alien from outer space—anything even if just to break the monotony, or to challenge the other writers to respond to this unexpected twist in their comfortable and totally predictable status quo. The common ploy for the establishment lackeys is, of course, to simply murder the rebellious upstart, or plunge him into disastrous wars and destroy his power base.  Or to make it impossible for him to get to his kryptonite or magic wand.  Or to blow up his shuttle craft, have him captured and vivisected in the name of science.

So, according to Occam's razor, it makes more sense to view our universe as the result of such input, and Earth as just one on-going play or fantasy story.  Sometimes some events on Earth could be considered sublime, (for example a few historical characters were written up by astute and even compassionate script writers) but mostly it's just bad soap, bad drama, cheap and tawdry.  This should not surprise us because we know already that the students who get the easiest passing marks from their establishment teachers are those whose scripts don't rock the boat.  As below, so above.  Don't write a script or create a character that would threaten termination of the 'project.'  Do whatever it takes so the coveted funding remains assured.  Above all, never ask questions of conscience.

The eventual result of these 'projects' are two-fold: some worlds ultimately come to a sputtering end as the teachers retire and the system closes that project—OR—the fantasy world in question enters the state of self-awareness, gaining enough understanding of itself to become autonomous and self-empowered.  Then it begins a life of its own and learns, through self-sacrifice, trial and error, to control its own destiny without expecting any 'help' from outside. 

This is material for a second part which I hope to have time to tackle soon.  I'm thinking about those entrusted to enter into the life of the created worlds as these struggle for survival against the many odds: the implementers of the various stories and scripts, the avatars. 

There is no doubt in my mind that Earth is still at the mercy of poor or juvenile script writers and has yet to discover self awareness so as to break free of these external manipulations.

This simple theory explains any otherwise unexplainable aspects of life on earth.  I'm open to being seriously challenged on this claim.