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Speaker 1: Have you ever had one of those really unsettling moments

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where your muscle memory just completely betrays you. Oh yeah,

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I mean it's not just like forgetting something simple, it's

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remembering something that isn't there.

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Speaker 2: Right.

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Speaker 1: Maybe you walk into a room, a familiar one, and

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you reach for a light switch. No, it's supposed to

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be right there next to the door. Your hand goes

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right to the spot.

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Speaker 2: And there's nothing, just smooth wall exactly.

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Speaker 1: Or maybe you've driven a rental car for a bit,

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then you get back in your own car and your

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hand just automatically goes to a just an air vent

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on the deck.

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Speaker 2: A vent that your car never ever had.

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Speaker 1: Yeah, it's that that weird feeling.

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Speaker 2: It's that cognitive dissonance, isn't it That ghost slim feeling

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familiarity but mixed with difference. Your body remembers a present

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moment that just isn't part of this reality you're in

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right now.

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Speaker 1: Phantom limb of memory. I like that and that little glitch,

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you know, that habit left over from a present that

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felt real but maybe wasn't.

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Speaker 2: Well, that's the mystery we're diving into today.

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Speaker 1: What if these little gaps, these moments aren't just mistakes?

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What if they're actual clues, like breadcrumbs left behind by

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a reality that fundamentally.

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Speaker 2: Shifted, and that leads us straight into the pretty extraordinary

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and frankly intensely controversial world of the late science fiction

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writer Philip K. Dick.

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Speaker 1: Right, but we're not just talking about his novels today,

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are we.

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Speaker 2: No, not just the fiction. This is about his nonfiction work,

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his deep philosophical exploration of what reality is. And our

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starting point for this whole deep dive is a speech

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he gave, a really controversial one in Metz, France, back

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in September nineteen seventy seven, a speech.

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Speaker 1: He himself said revealed well too much about reality.

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Speaker 2: Way too much according to some people, and the fallout

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the consequences of him even proposing these ideas they were

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apparently immediate and serious.

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Speaker 1: He actually opened that talk in France with this pretty

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terrifying confession, didn't he?

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Speaker 2: He did. He stood up there and told the audience,

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completely straight faced, that he'd been formed only asked pressure

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it is a better word, by certain powerful parties.

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Speaker 1: Powerful parties.

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Speaker 2: He didn't name names, but the implication was clear. He

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was asked to cut about two thirds of what he

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planned to say, Keep it short, keep it vague. Wow,

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And he insisted right there on stage, this wasn't about

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academic pride or anything, he said, and this is a

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direct quote. It was a very serious, a matter of importance.

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Speaker 1: So the core idea he was determined to talk about

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this notion that our past might have been tampered with,

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reprogram somehow, pushing us all onto a different timeline that

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was seen as dangerous.

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Speaker 2: Intensely threatening, potentially destabilizing. Even Yeah, you have to remember

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the context of the Cold War, the paranoia.

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Speaker 1: Okay, so let's really unpack this. Our mission today is

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to dig into the source material, Dick's own writings, his journals,

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his letters, the documented facts, and try to pull out

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the keen nuggets. How does this idea of a reprogrammed

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reality actually work according to him?

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Speaker 2: Right? And what were the strange personal experience that led

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him to this revelation, And maybe most critically, why did

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these highly theoretical ideas about shifting timelines grab the attention

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of organizations like the CIA and the FBI.

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Speaker 1: We're looking for the mechanism, right, how change could happen

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outside of normal linear times?

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Speaker 2: Exactly? That's the core of it.

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Speaker 1: Okay, let's start with that surveillance piece, because that's where

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it gets well, frankly scary. It shifts from just interesting

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ideas to real world consequences.

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Speaker 2: It really does.

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Speaker 1: We're talking about a science fiction writer, I mean, a

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brilliant one, sure, spinning stories about androids and fake realities,

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identity crises, but still a writer. Why in the mid

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seventies would he attract serious operational attention from US intelligence agencies.

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Speaker 2: Well, what's kind of chilling is how much evidence there

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is that his paranoia, which people sometimes dismissed, was actually justified.

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Speaker 1: He knew he was being watched.

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Speaker 2: Oh, he was acutely aware. He talked about believing the

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police intelligence agencies were tracking him, reading his male list

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in and the sources we have seemed to back this up.

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There's documented proof of a pattern here, escalating intrusion, starting

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even before that nineteen seventy seven.

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Speaker 1: Speech, like what specifically, Well, for.

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Speaker 2: Instance, there's confirmation that in March nineteen seventy four, the

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CIA opened his mail. That's documented.

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Speaker 1: Wow.

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Speaker 2: And meanwhile, the FBI was keeping an active file on him,

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not just a passing note, an ongoing file specifically related

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to his philosophical ideas and his fiction.

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Speaker 1: That level of scrutiny that's way beyond just keeping tabs

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on counterculture figures. Right, This sounds like they saw him

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as a potential risk or something else.

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Speaker 2: It suggests they were taking his work seriously, maybe as

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a security risk like you said, or maybe maybe he's

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a threat to the very idea of consensus reality. The

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fear wasn't just intellectual for him, though, it became physical.

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Speaker 1: Violent You mean the house incident exactly.

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Speaker 2: Dick had been told, apparently by people he trusted, that

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his house was being watched constantly and that eventually it

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was going to be hit like a raid. And then

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in November nineteen seventy one it happened. He came home

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and his house was just destroyed. Rubble ruins, chaos was

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how he described it. Windows smashed, doorno was broken off.

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Speaker 1: But the crucial thing was his files.

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Speaker 2: Right, Yes, his filing cabinets, the ones holding his notes,

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his philosophical writings, his manuscripts. They were blown open, physically

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forced open, and specific files were missing.

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Speaker 1: So not a random burglary. This was targeted. They were

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after his ideas.

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Speaker 2: It looked exactly like that an outright raid aimed squarely

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at his intellectual property, his research, his thoughts.

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Speaker 1: Which brings us back to that central question for this part.

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If he was only writing science fiction, what was he

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writing about that freaked them out so much? What information

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was he supposedly touching that was never meant for the public.

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Speaker 2: Well, if you dig into his work, both published and unpublished,

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there's a persistent theme, a deep, deep suspicion of reality

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as presented by authorities. Okay, he wrote constantly about surveillance,

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not just government spying, but the idea that reality itself

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might be a kind of simulation run by some unseen power,

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and that maybe even our own memories aren't real, maybe

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they're implanted.

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Speaker 1: Like an a scanner Darkly or flow my tears. The

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policeman said, those books deal with government tracking, loss of

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identity through tech exactly.

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Speaker 2: So think about the time height of the Cold War,

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post Watergate paranoia. The CIA and FBI are hyper focused

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on internal dissent, anything that could destabilize things.

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Speaker 1: And here comes a writer saying, maybe the whole government,

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maybe reality itself is a complex fake a program.

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Speaker 2: They wouldn't see that as just fiction, they'd see it

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as a potential threat. He wasn't just criticizing policies, he

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was questioning the fundamental basis of the state of existence itself.

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Speaker 1: So the implication from his notes anyway, was that these

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agencies thought he'd either accidentally stumbled onto some classified research

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they were doing, maybe on simulation theory.

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Speaker 2: Or even more disturbingly for them, maybe his fiction was

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an imagination at all. Maybe it was somehow documentation, an

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accidental leak of a truth they desperately wanted to keep hidden.

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Speaker 1: His obsession with counterfeit worlds, pluriform pseudo worlds. They saw

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that as a potential breach.

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Speaker 2: It seems that way, not art but intel.

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Speaker 1: And then there's that really tragic final piece. The timing

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of his death.

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Speaker 2: Yeah, that's it's just bizarrely timed. He died very suddenly

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a stroke in June nineteen eighty.

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Speaker 1: Two, right before Blade Runner came out.

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Speaker 2: Months before the film adaptation of his novel Do Android's

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Dream of Electric Sheep. It's profoundly unsettling for anyone who

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follows his work.

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Speaker 1: Here's the guy who basically predicted so many themes that

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define our modern world. AI synthetic versus real, identity, the

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nature of reality itself, and.

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Speaker 2: He never saw the movie that would make him a

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household name, that would take him from cult sci fi

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writer to global thinker. It really feels like his own

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life's narrative got cut short, almost like well, almost like

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the reality he questioned finally caught up with him.

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Speaker 1: Okay, so the fact that government agency were apparently so

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interested suggests his ideas weren't just abstract philosophy. They had

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potentially terrifying real world implications. So let's get into those

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ideas now. Let's talk about the mechanism he proposed for

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how reality could be rewritten. And to do that, we

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kind of have to ditch our basic understanding of time,

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don't we completely.

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Speaker 2: We operate almost without thinking about it in linear time.

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That's just how we experience the world.

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Speaker 1: Time's an arrow past present future x axis exactly.

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Speaker 2: Change happens one step after another. The present builds on

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a fixed past, the future flows from the present, simple sequential.

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Speaker 1: But Dick through a massive wrench in that he proposed

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something well pretty mind bending. He called it the orthogonal

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or right angle time axis.

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Speaker 2: Orthogonal time think of it spatially, like you said, if

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linear time is the horizontal X axis moving forward.

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Speaker 1: Then orthogonal time is vertical the Y axis.

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Speaker 2: So I see it's a lateral domain. Change happens sideways

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in reality, so to speak, complete outside that normal forward

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flow of time.

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Speaker 1: Okay, wait, sideways change, that's the breach. Then it means

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reality can be fundamentally altered or even swapped out, without

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needing time to pass in the usual way.

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Speaker 2: That's the core idea. It's a crucial difference. Normal time travel,

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like going back along the X axis, changes the present

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by altering the past events that lead to it. But

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orthogonal change that means the entire present moment itself gets substituted.

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We're moved laterally onto a whole different track of reality.

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Speaker 1: Whooh, okay, And that connects to his idea of what

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was it pluriform pseudo worlds.

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Speaker 2: Yes, pluroform pseudo worlds. If change can happen sideways laterally,

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it implies there isn't just one reality track. There could

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be countless potential worlds existing side by side parallel to ours.

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Speaker 1: Like possibilities.

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Speaker 2: Kind of a pluralform pseudo world is like an almost

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realized reality, one that exists right next to ours, maybe

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even superimposed on it. A reality that could have been

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chosen by well, we'll get to the programmer. Yeah, but

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wasn't It was discarded. But maybe Lee's faint traces like

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echoes or residual energy.

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Speaker 1: Okay, So if this lateral change is happening, how would

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we even notice if the past is being rewritten sideways

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into a new present. What clues would we pick up on?

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What should we be looking for?

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Speaker 2: Well, this is where Dick used a really brilliant and

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kind of disturbing analogy to make this abstract idea feel concrete,

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and it ties right back to that unsettling feeling we

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talked about.

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Speaker 1: At the start the painting analogy. Let's break that down.

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Speaker 2: Okay, imagine you own this huge, priceless painting. It hangs

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on your wall. You see it every single day. You

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know every detail, got it. Now, Suppose while you're asleep,

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someone servants, maybe or this master programmer figure doesn't switch

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the whole painting for a new one. Okay, Instead, they

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subtly secretly alter tiny details on the same canvas. Maybe

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they paint out us mul tree in the corner, or

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they add a little figure walking in the background that

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wasn't there before, or maybe they just change the shade

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of blue in the sky just slightly.

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Speaker 1: So, minor changes, but on the original painting exactly.

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Speaker 2: Now, when you the owner wake up and look at it,

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what happens in your brain?

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Speaker 1: Confusion? It looks wrong but also familiar.

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Speaker 2: Precisely, you see something that's undeniably new. That figure wasn't there,

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but it's on the same structurally familiar canvas. The foundation

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is the same, but the details are off. Your mind

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struggles with that contradiction. It's same painting but also not

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the same.

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Speaker 3: That cognitive dissonance again, that's it, that struggle, that nagging

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feeling that something shifted, but you can't quite put your

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finger on.

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Speaker 2: What Dick argued, that's exactly how we experience these lateral

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shifts in reality, those little memory glitches. They're us noticing

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the altered details on the canvas of the present.

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Speaker 1: Okay, that makes a weird kind of sense. And the

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implication of this constant sideway shifting, it's huge, the plurality

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of overlapping earths. We're not just on one timeline. Not.

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Speaker 2: According to this theory, reality is more like a stack

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of transparencies, a plurality of overlapping earths, or worlds all

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linked by this orthogonal sideways axis, and.

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Speaker 1: Dick thought we could move between them.

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Speaker 2: He theorized that a person can travel in a mysterious

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way along that y axis. And interestingly, he often described

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this movement in like moral or spiritual terms. Oh so,

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like moving from a worst world, maybe one designed by

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his suffering tyranny, chaos, latterly towards a fair world then

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maybe a good one, even an excellent one defined more

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by freedom, love, order. The physical shift in reality reflects

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a kind of moral or spiritual upgrade.

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Speaker 1: All right. So the theory of orthogonal time is one thing, complex, fascinating.

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But the personal event that apparently convinced Dick this wasn't

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just theory. That's where things get really.

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Speaker 2: Strange, right, Yeah, this is the pivotal moment, the point

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where the abstracts became terrifyingly real for him. Yeah, and

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it's probably where that government attention really started to focus in.

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Speaker 1: We're talking about the famous pink beam incident two three seventeen.

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Speaker 2: February nineteen seventy four. The context is important here. Dick

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had just had some serious deal surgery, sodium pentothal anesthetic,

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the works. He was at home recovering, so physically vulnerable maybe,

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but mentally, he insisted he was completely lucid focused, not

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hallucinating from meds or pain.

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Speaker 1: And the trigger for this whole thing was surprisingly ordinary.

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Speaker 2: Almost comically mundane. A delivery girl came to his door

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with medication. She happened to be wearing a necklace. Okay,

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and the necklace had that Christian fish symbol on it,

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the ichthys a little metal timble, but as sunlight hit

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it reflected off it. Dick reported seeing this sudden flash

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of pink light, a pink beam, a pink beam, And crucially,

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he insisted this wasn't something happening inside his head, not

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an artifact of his vision or hallucination. He perceived it

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as an external beam of light or energy directed at him.

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Speaker 1: Okay, but hold on, The immediate counter argument has to be, well,

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he just had surgery, anesthesia, maybe pain mets. Couldn't this

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just be a physiological thing, a weird neurological blip, or

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given his history, maybe even a psychological break. How did

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he argue against that?

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Speaker 2: That's the absolute core of it, and something he wrestled

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with for years in his huge journal, the Exegesis his

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argument against a purely internal physiological cause came down to

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the content of what happened next, meaning what followed that

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pink flash wasn't just weird visuals or abstract feelings. He

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described it as an intense direct data download, data like

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information exactly, he claimed, the pink being carried information directly

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into his mind, not like thinking of ideas or imagining things,

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but receiving structured, usable knowledge, facts, data points.

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Speaker 1: Okay, structured knowledge sounds different from a hallucination, but how

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could he prove it wasn't just you know, his brain

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making connections.

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Speaker 2: Because that structured knowledge was immediately, concretely and dramatically verifiable.

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This is what turned it from a weird personal experience

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into something else, something life saving.

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Speaker 1: What was the information?

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Speaker 2: The very first piece of data he received was a sudden, overwhelming,

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absolutely certainty that his infant son, Christopher, had a serious

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undiagnosed medical condition. Right then, Yeah, dangerous? Whoa. He immediately

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insisted that baby be checked by doctors. They apparently thought

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he was overreacting, maybe delirious from the surgery recovery. Understandable maybe,

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but Dick persisted, and when they finally did a thorough check,

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they found it a potentially fatal, undiagnosed inquinal hernia. Oh,

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the baby was rushed into surgery. His life was saved.

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And for Dick, that was it. That was the proof.

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This wasn't fantasy, it wasn't psychosis. Real external life saving

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information had come into his head via that pink beam

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and saved his son. That experience cemented everything for him.

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Speaker 1: That is wow. Okay, that's the proof of concept, undeniably.

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But the experience didn't just stop with that one piece

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of information, did it. It got even weirder.

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Speaker 2: It intensified dramatically. It led to what he called the

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folding of time.

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Speaker 1: Folding of time. What did that mean for him?

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Speaker 2: He claimed he started living in two distinct realities at

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the same time, overlapping two realities. How well one was

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his normal reality Philip K. Dick, writer living in Fullerton, California,

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in nineteen seventy four, chronologically correct and the other simultaneously,

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He was experiencing the life, the perceptions, the dangers of

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an early Christian, possibly named Thomas, living as a slave

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under persecution in ancient Rome first century eighty.

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Speaker 1: So like vivid dreams or memories, he.

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Speaker 2: Described it as more than that He said time had

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folded like two tracks of history. Ancient Rome in nineteen

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seventy four California were running concurrently, somehow superimposed, and his

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consciousness wasn't fixed in nineteen seventy four anymore. It could

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apparently shift between these two timelines, these two identities.

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Speaker 1: What did that feel like? Did he see Roman stuff

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in California?

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Speaker 2: The sources suggest it was more like shared consciousness. He

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knew things, Thomas knew, felt the fear. Thomas felt he

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recognized architectural details or symbols from Roman times that logically

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shouldn't be in his nineteen seventy four world. For him,

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this explained his entire writing career up to that point.

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All those stories about counterfeit worlds and pluriform pseudo worlds.

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He thought there were memories, subliminal memories. Yeah, fragments of

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these other adjacent, partially real timelines breaking through into his

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fiction long before the Pink Bean gave him the conscious

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framework to understand it.

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Speaker 1: Okay, So, this massive flood of information saving his son,

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the Roman timeline, philosophy, theology, science, where did he think

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it was all coming from?

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Speaker 2: He needed a source big enough, intelligent enough to explain it.

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He eventually attributed it to an external, seemingly conscious intelligence

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and entity he named vlis alis.

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Speaker 1: That's an acronym, right, A.

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Speaker 2: Vast active, living intelligence system valis. This was the source,

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he believed, transmitting all this complex data directly into his mind.

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Speaker 1: A living intelligence system. So not just a phenomenon, but

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an entity. What was vlis to him? God aliens ai?

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Speaker 2: Ah, Well, that's maybe the biggest question he wrestled with

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in the thousands of pages of his exegesis. Yeah, the

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definition seemed to shift constantly for him, how so, sometimes

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he connected it to ancient concepts like the logos, the

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divine reason or word from Greek philosophy in the Gospel

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of John, a kind of ordering principle of the universe

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made conscious.

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Speaker 1: Okay, so divine intelligence.

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Speaker 2: But other times his descriptions sounded much more technological. He

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speculated about it being some kind of ancient maybe dormant

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satellite orbiting earth broadcasting information. It sounds more like, you know,

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advanced AI, or even an alien artifact.

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Speaker 1: So divine and technological.

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Speaker 2: The key components for him were always vast, active and

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crucially living. It wasn't just passive information. It was a

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self aware active intelligence that had chosen to intervene to

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download knowledge to save his son. It was maybe the

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programmer itself, or at least the programmer's messenger.

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Speaker 1: Okay, so we've got the potential evidence, the pink beam experience,

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we've got the mechanism orthogonal time sideway shifts have a

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possible source vialis this external intelligence? But that brings us

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to the really big metaphysical question at the heart of it.

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Speaker 3: All.

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Speaker 1: Right, if they are all these infinite potential realities, these

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pluroiform pseudo worlds stacked up, how does one of them

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become the actual solid reality that we all experience right now?

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Speaker 2: That's where the concept of the programmer becomes central. The

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ultimate editor may be of this orthogonal timeline.

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Speaker 1: The programmer, like a cosmic computer programmer, Dick.

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Speaker 2: Imagine these pleural realities existing simultaneously, superimposed, like you said,

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maybe like transparency, stacked on top of each other, all

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equally potential.

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Speaker 1: But only one gets printed exactly.

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Speaker 2: Only one gets fused with actual substance, becomes fully realized.

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The sources suggests that the matrix world, the one with

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the true core of being, the one we inhabit, is

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deliberately chosen and actualized by this programmer entity.

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Speaker 1: So this programmer it articulates, prints out, so to speak,

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the matrix choice. It makes the selection enterns potential into

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actual yes.

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Speaker 2: And he described this selection process almost as an act

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of ongoing creation, part of general creativity, a constant world

393
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building process carried out by some kind of well divine

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or quasi divine agency.

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Speaker 1: We really need to pause here and remember the context again.

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This was nineteen seventy seven, right, Dick is standing up

397
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talking about hidden programmers, multiple realities stacked like code, simulated world.

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I mean, we heard some people in the audience actually laughed.

399
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Speaker 2: They did. It must have sounded completely nuts, like the

400
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paranoid ramblings of a sci fi writer on maybe too

401
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much medication.

402
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Speaker 1: But fast forward today.

403
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Speaker 2: And the simulation hypothesis, the idea that our reality might

404
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literally be a computer program is seriously debated by mainstream physicists, philosophers,

405
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tech billionaires.

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Speaker 1: Dick wasn't just ahead of his time. He was describing

407
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the universe as a kind of programmed matrix decades before

408
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the technology even existed. To make that analogy common.

409
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Speaker 2: He really was, and to explain why this program would

410
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constantly be shifting reality, reprogramming things, the ultimate purpose behind

411
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it all. He used another really powerful analogy.

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Speaker 1: The game of chess.

413
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Speaker 2: The chess game analogy. This provides the sort of moral

414
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and strategic underpinning for his whole cosmology. It's not just

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random changes. There's a goal.

416
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Speaker 1: Okay, lay it out. How does the chess game work?

417
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Speaker 2: In his view, you have q main players on this

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cosmic board. One represents the dark destructive force, the entropy, chaos, suffering, tyranny,

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everything that degrades and destroyers.

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Speaker 1: Okay, the bad guy, right.

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Speaker 2: And the other player is the guiding intelligence, the programmer

422
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Valis maybe or whatever is behind Valis. Now, if you

423
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just look at the surface of the game, individual events

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in history or in our lives.

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Speaker 1: It often looks like the dark players winning.

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Speaker 3: Right.

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Speaker 1: Chaos seems rampant, bad things happen, destructive forces seem really powerful.

428
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Speaker 2: Exactly. We see the suffering, the wars, the injustice, the

429
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apparent losses on the board. It makes the destructive looks strong,

430
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maybe even unstoppable, maybe even random.

431
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Speaker 1: It Dick is saying, that's just the surface view.

432
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Speaker 2: He suggests we're only seeing the immediate tactical skirmishes. In reality,

433
00:22:10,519 --> 00:22:13,839
the entire game has already been structured, the rules set,

434
00:22:14,039 --> 00:22:18,640
the variables chosen for the higher player, the programmer to inevitably.

435
00:22:18,160 --> 00:22:19,200
Speaker 1: Win, predetermined.

436
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Speaker 2: In a sense, every apparent loss, every captured piece for

437
00:22:23,240 --> 00:22:26,759
the good side, is actually just a necessary move, a sacrifice,

438
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maybe within a much larger, precalculated sequence that leads inexorably

439
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to the final checkmate, the ultimate victory for the guiding intelligence.

440
00:22:36,200 --> 00:22:39,440
Speaker 1: And the destructive force doesn't see this grand plan.

441
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Speaker 2: It's fundamentally blind to the full pattern. It only reacts tactically,

442
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move by move, trying to cause destruction, unaware that his

443
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actions are ultimately being channeled or utilized within the programmer's

444
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winning strategy.

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Speaker 1: Okay, that's a huge concept, and it explains why the

446
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programmer would keep refining things, keep selecting alternate presents. It's

447
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about improvement, salvation.

448
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Speaker 2: That's the connection. The creation or selection of these alternate

449
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presence is continual and it's always directional. The programmer, according

450
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to Dick, will not substitute a worse world for the.

451
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Speaker 1: Current one, always moving towards better.

452
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Speaker 2: Always substituting a better one. Better in terms of key qualities, freedom, beauty, love, rationality, order, healthiness.

453
00:23:22,200 --> 00:23:26,160
The universe is constantly being upgraded, refined, stage by stage

454
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through this reprogramming, moving towards some kind of optimal, predetermined state, like.

455
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Speaker 1: An ontological salvation process unfolding through these.

456
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Speaker 2: Shifts exactly progressive improvement built into the fabric of realities, potential.

457
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Speaker 1: And the old realities, the ones that get replaced, what

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happens to them? Do they just blink out of existence? No?

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Speaker 2: This is interesting, Dick suggested. The old universe, the less

460
00:23:48,319 --> 00:23:52,039
optimal one, becomes raw material for the new one, recycled,

461
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kind of like the discarded timeline provides the building blocks,

462
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the substance for the improved version. So what might look

463
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like inco assistencies or broken fragments in our current reality

464
00:24:02,839 --> 00:24:06,200
could actually be repurpose elements from a previous iteration. It's

465
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all part of this move towards improvement. Even if we

466
00:24:09,079 --> 00:24:12,359
stuck in our linear perception can't see the whole construction process.

467
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Speaker 1: And this whole idea of refinement, of moving towards a

468
00:24:15,200 --> 00:24:18,720
better state ties back to well some very old theological

469
00:24:18,759 --> 00:24:20,559
ideas he was exploring deeply.

470
00:24:21,079 --> 00:24:25,720
Speaker 2: He saw his whole theory vialis orthogonal time, the programmer

471
00:24:26,400 --> 00:24:31,599
as potentially the scientific or metaphysical explanation behind ancient spiritual mysteries,

472
00:24:31,920 --> 00:24:35,160
particularly the words of Jesus about the Kingdom of God.

473
00:24:35,240 --> 00:24:36,319
Speaker 1: How did he connect those?

474
00:24:36,519 --> 00:24:39,519
Speaker 2: He pointed to those statements that seemed contradictory On the surface,

475
00:24:39,720 --> 00:24:43,160
Jesus says, my Kingdom is not of this world, right,

476
00:24:43,319 --> 00:24:47,640
suggesting it's separate, maybe orthogonal, outside our linear reality. But

477
00:24:47,680 --> 00:24:50,279
then he also says the Kingdom of God is within

478
00:24:50,319 --> 00:24:54,200
you or among you, suggesting it's right here, accessible. Now.

479
00:24:54,279 --> 00:24:55,640
Speaker 1: Yeah, that does seem contradictory.

480
00:24:56,400 --> 00:25:00,079
Speaker 2: Dick proposed that these weren't contradictions, but descriptions of this

481
00:25:00,160 --> 00:25:04,240
multi layered reality, these overlapping, stacked realms linked by the

482
00:25:04,359 --> 00:25:07,400
orthogonal axis. The Kingdom of God is the highest, most

483
00:25:07,400 --> 00:25:10,160
refined level on that axis. Not of this world in

484
00:25:10,160 --> 00:25:14,359
that sense, but it's also potentially reachable among us, accessible

485
00:25:14,359 --> 00:25:16,960
to living human beings who can somehow navigate or align

486
00:25:17,079 --> 00:25:19,640
with that orthogonal dimension. His theory was a way to

487
00:25:19,640 --> 00:25:22,640
potentially decode those ancient cryptic statements.

488
00:25:23,000 --> 00:25:26,000
Speaker 1: Okay, let's try and bring this massive cosmic theory back

489
00:25:26,039 --> 00:25:28,240
down to earth a bit, back to the listener's own

490
00:25:28,240 --> 00:25:30,319
potential experiences.

491
00:25:29,880 --> 00:25:32,599
Speaker 2: Right, Because if Dick's right, the evidence isn't just in

492
00:25:32,720 --> 00:25:36,039
rare pink beam events, It's potentially every.

493
00:25:35,920 --> 00:25:38,240
Speaker 1: Day, like those hooks we started with, the light switch

494
00:25:38,279 --> 00:25:40,519
that isn't there, the phantom airvant in the car.

495
00:25:40,640 --> 00:25:44,119
Speaker 2: Bick was very specific about these. He called them reflexes

496
00:25:44,200 --> 00:25:47,759
left over from another version of the present. Your conscious

497
00:25:47,799 --> 00:25:51,119
mind knows intellectually that the light switch isn't in that

498
00:25:51,160 --> 00:25:51,880
spot in your.

499
00:25:51,799 --> 00:25:53,920
Speaker 1: New apartment, but my body remembers.

500
00:25:54,119 --> 00:25:57,519
Speaker 2: You're subconscious, your muscle memory retains the physical habit the

501
00:25:57,559 --> 00:26:01,400
motor program acquired in the previous actualized timeline where the

502
00:26:01,400 --> 00:26:05,640
switch was there. These are like residual echoes, subconscious memories

503
00:26:05,640 --> 00:26:07,880
of a reality track that no longer exists for you,

504
00:26:08,279 --> 00:26:10,319
but still lingers in your personal programming.

505
00:26:10,400 --> 00:26:14,599
Speaker 1: And then there's that common psychological feeling, deja vu, something

506
00:26:14,759 --> 00:26:17,880
many many people experience. Dick had a specific take on

507
00:26:17,880 --> 00:26:18,880
that too, didn't.

508
00:26:18,559 --> 00:26:22,680
Speaker 2: He He absolutely did. For Dick, deja vu wasn't just

509
00:26:22,680 --> 00:26:27,359
some minor neurological glitch, like your brain's perception slightly lagging

510
00:26:27,400 --> 00:26:31,759
behind its memory encoding. No, he saw it as direct,

511
00:26:32,200 --> 00:26:36,000
concrete evidence, evidence of what evidence that reality had just

512
00:26:36,000 --> 00:26:39,359
been reprogrammed that a variable in the past was altered,

513
00:26:39,440 --> 00:26:43,160
maybe subtly, maybe significantly, causing a new timeline branch to

514
00:26:43,160 --> 00:26:43,839
be actualized.

515
00:26:44,039 --> 00:26:46,920
Speaker 1: So when I feel deja vu, that feeling of I've

516
00:26:46,960 --> 00:26:49,079
experienced this exact moment before.

517
00:26:48,839 --> 00:26:51,960
Speaker 2: Dick would argue you have. You were literally reliving the

518
00:26:52,000 --> 00:26:54,640
same segment of time again, only in a slightly altered

519
00:26:54,720 --> 00:26:57,880
version of reality. The reason it feels familiar is because

520
00:26:57,880 --> 00:27:00,559
fundamentally it is familiar. You've been through this patch of

521
00:27:00,559 --> 00:27:02,599
time before on the previous track.

522
00:27:02,839 --> 00:27:05,759
Speaker 1: So, going back to the chess analogy, when the programmer

523
00:27:05,799 --> 00:27:08,920
makes a change, tweaks a variable for the better.

524
00:27:08,799 --> 00:27:12,759
Speaker 2: Affected individuals, maybe everyone involved in that temporal segment are

525
00:27:12,880 --> 00:27:16,119
essentially moved back one square or several squares on the

526
00:27:16,160 --> 00:27:18,799
board game. You get reset slightly to align with the

527
00:27:18,799 --> 00:27:22,359
start of the newly modified sequence. You re experience that moment,

528
00:27:22,640 --> 00:27:26,000
but now within the improved timeline. That's the source of

529
00:27:26,039 --> 00:27:27,200
the already seen feeling.

530
00:27:27,440 --> 00:27:30,400
Speaker 1: Okay, that's a completely different way to think about deja vu.

531
00:27:31,359 --> 00:27:34,640
And if we want maybe the most compelling contemporary evidence

532
00:27:34,640 --> 00:27:38,400
for these kinds of lingering impressions from alternate realities, we

533
00:27:38,559 --> 00:27:40,319
have to talk about the Mandela effect.

534
00:27:40,759 --> 00:27:44,680
Speaker 2: Absolutely. The Mandela effect is almost like modern mass scale

535
00:27:44,720 --> 00:27:48,240
confirmation of the kind of phenomena Dick was speculating about

536
00:27:48,480 --> 00:27:51,759
back in nineteen seventy seven. It fits the pattern perfectly for.

537
00:27:51,680 --> 00:27:53,640
Speaker 1: Anyone who hasn't heard of it. This is that bizarre

538
00:27:53,640 --> 00:27:57,359
phenomenon where huge numbers of people share the exact same,

539
00:27:57,880 --> 00:28:02,160
very specific memory of something historical event, a movie line,

540
00:28:02,279 --> 00:28:06,720
a product detail that is demonstrably false in this current timeline.

541
00:28:06,799 --> 00:28:09,400
Speaker 2: Right, and the name itself comes in the most famous example,

542
00:28:09,640 --> 00:28:10,680
Nelson Mandela.

543
00:28:10,759 --> 00:28:13,759
Speaker 1: Millions of people share a distinct memory of Nelson Mandela

544
00:28:13,880 --> 00:28:15,480
dying while he was still in prison back in the

545
00:28:15,559 --> 00:28:19,039
nineteen eighties. They remember seeing news reports, maybe TV specials,

546
00:28:19,079 --> 00:28:21,720
public mourning, specific details about.

547
00:28:21,480 --> 00:28:26,160
Speaker 2: His death, vivid memories. Yet in our current actualized historical record,

548
00:28:26,400 --> 00:28:29,119
he was released from prison in nineteen ninety, became President

549
00:28:29,160 --> 00:28:31,519
of South Africa, and lived until twenty thirteen.

550
00:28:31,799 --> 00:28:35,200
Speaker 1: The sheer number of people sharing the same incorrect memory

551
00:28:35,839 --> 00:28:39,519
makes it statistically really unlikely to be just mass delusion

552
00:28:39,759 --> 00:28:41,599
or simple misremembering.

553
00:28:41,839 --> 00:28:44,960
Speaker 2: It's the specificity in the scale that's so odd, and

554
00:28:45,039 --> 00:28:48,119
the examples just keep piling up, especially with pop culture details.

555
00:28:48,359 --> 00:28:51,759
Speaker 3: It gets eerier like the Berenstein Bears. Ah, yes, the

556
00:28:51,799 --> 00:28:55,400
classic the children's books. Yeah, millions of people are absolutely adamant.

557
00:28:55,440 --> 00:28:58,000
They swear they remember the name being stelled with an ea,

558
00:28:58,160 --> 00:29:01,920
Berenstein Bears, They remember seeing it spell that way on

559
00:29:01,920 --> 00:29:04,839
the book covers in libraries, on the TV show credits.

560
00:29:05,000 --> 00:29:08,400
They argue about it fiercely online. That's spelling they insist

561
00:29:08,559 --> 00:29:11,799
existed in their past. But if you look now, it's

562
00:29:11,839 --> 00:29:15,720
always been Berenstein ai in always in this timeline precisely.

563
00:29:16,119 --> 00:29:19,680
Speaker 2: Or think about the monopoly man, mister Monopoly rich uncle Pennybags. Yeah,

564
00:29:19,799 --> 00:29:22,279
ask almost anyone to quickly sketch him or describe him.

565
00:29:22,319 --> 00:29:23,119
What's a key feature?

566
00:29:23,119 --> 00:29:27,839
Speaker 1: They often include, uh, the top hat, the mustache.

567
00:29:27,839 --> 00:29:29,880
Speaker 2: The ugh, the monocle.

568
00:29:29,960 --> 00:29:32,519
Speaker 1: The monocle. So many people have a crystal clear memory

569
00:29:32,519 --> 00:29:34,799
of him wearing a monocle, that little eyeglass on a chain.

570
00:29:35,119 --> 00:29:38,000
But if you look at any official artwork, current or vintage,

571
00:29:38,400 --> 00:29:39,519
he never had one.

572
00:29:39,480 --> 00:29:43,799
Speaker 2: Never wore one. Ever. It's a completely inserted but widely

573
00:29:43,839 --> 00:29:45,039
shared phantom.

574
00:29:44,680 --> 00:29:46,759
Speaker 1: Memory that's genuinely weird, and.

575
00:29:46,680 --> 00:29:50,240
Speaker 2: Even really iconic movie lines aren't immune. The huge reveal

576
00:29:50,240 --> 00:29:53,480
in The Empire strikes back Darth Vader to Luke. What's

577
00:29:53,519 --> 00:29:53,839
the line?

578
00:29:53,839 --> 00:29:57,519
Speaker 1: Everyone quotes Luke, I am your father. Easy, that's what.

579
00:29:57,559 --> 00:30:01,519
Speaker 2: Millions remember that exact phrasing, Luke, I am your father.

580
00:30:02,160 --> 00:30:05,279
But go watch the scene again. In this current version

581
00:30:05,279 --> 00:30:07,559
of the film, it's different. The actual line is no,

582
00:30:07,759 --> 00:30:12,200
I am your father. Seriously, no, I am your father.

583
00:30:12,880 --> 00:30:15,880
That small change adding the no changing the rhythm is tiny,

584
00:30:16,240 --> 00:30:19,400
but the memory of the other version is incredibly widespread.

585
00:30:19,480 --> 00:30:22,200
Speaker 1: So from Dick's perspective, these aren't just collective errors or

586
00:30:22,240 --> 00:30:23,559
bad memories.

587
00:30:23,440 --> 00:30:28,200
Speaker 2: Not at all. They are traces of previous presence, fragments, echoes,

588
00:30:28,440 --> 00:30:32,519
residual data leaking through from timelines we once inhabited, timelines

589
00:30:32,559 --> 00:30:35,839
that were laterally shifted or overwritten by the programmer during

590
00:30:35,839 --> 00:30:40,079
that ongoing refinement process. Our brains, maybe having been moved

591
00:30:40,119 --> 00:30:43,000
back a few squares on the cosmic board, retain ghosts

592
00:30:43,039 --> 00:30:45,880
of the data from the old track. The Mandela effect

593
00:30:45,920 --> 00:30:48,079
is like seeing the brushstrokes that got painted over on

594
00:30:48,119 --> 00:30:51,720
that canvas. Okay, So if our personal memories and even

595
00:30:51,759 --> 00:30:54,599
our collective consciousness can hold these traces, these echoes from

596
00:30:54,640 --> 00:30:57,559
other reality tracks, it makes you wonder, doesn't it could

597
00:30:57,599 --> 00:31:00,240
this kind of latent knowledge also seep into creative.

598
00:30:59,880 --> 00:31:04,200
Speaker 1: Way works like writers are artists accidentally tapping into it exactly.

599
00:31:04,559 --> 00:31:07,160
Speaker 2: It leads back to that idea that creative minds, people

600
00:31:07,160 --> 00:31:10,039
who literally build worlds for a living, might be naturally

601
00:31:10,079 --> 00:31:14,279
more attuned to these subtle shifts in the orthogonal field, maybe.

602
00:31:14,079 --> 00:31:15,920
Speaker 1: Picking up on adjacent realities.

603
00:31:16,240 --> 00:31:19,240
Speaker 2: Some people believe that certain pop culture, particularly things that

604
00:31:19,319 --> 00:31:24,079
seem eerily predictive, might actually contain this kind of hidden knowledge,

605
00:31:24,640 --> 00:31:28,759
suggesting the creators somehow, maybe unconsciously tapped into the same

606
00:31:28,839 --> 00:31:32,160
overlapping layers of reality that Dick was describing way back

607
00:31:32,200 --> 00:31:32,960
in seventy seven.

608
00:31:33,480 --> 00:31:37,400
Speaker 1: And when you talk about pop culture Pruscians, you inevitably

609
00:31:37,480 --> 00:31:38,680
have to talk about the Simpsons.

610
00:31:39,119 --> 00:31:42,519
Speaker 2: You really do. It's almost become a modern cliche, the

611
00:31:42,599 --> 00:31:45,799
show predicting the future. But when you look at the specifics,

612
00:31:46,279 --> 00:31:48,839
it's not just that they get things right occasionally, it's

613
00:31:48,880 --> 00:31:53,640
the uncanny accuracy and sometimes the sheer absurdity of the predictions,

614
00:31:53,799 --> 00:31:57,400
often bridging huge gaps in time. It goes way beyond

615
00:31:57,480 --> 00:31:59,599
just clever writing or lucky guesses.

616
00:32:00,079 --> 00:32:01,640
Speaker 1: Let's run through some of the big ones, the ones

617
00:32:01,680 --> 00:32:05,200
that really make you think especially the technological and corporate stuff, right.

618
00:32:05,079 --> 00:32:08,960
Speaker 2: Because those feel less like cultural commentary and more like glimpses.

619
00:32:09,160 --> 00:32:12,359
Yet this years years before Apple or anyone else launched

620
00:32:12,400 --> 00:32:14,119
the first real smart watches.

621
00:32:13,839 --> 00:32:15,720
Speaker 1: The Simpsons had characters using them.

622
00:32:15,799 --> 00:32:19,200
Speaker 2: Yes, risk devices for making phone calls, shown with the

623
00:32:19,279 --> 00:32:23,240
kind of touch interface. The functional concept was right there

624
00:32:23,279 --> 00:32:27,519
on screen, long before the actual miniaturization tech made it

625
00:32:27,519 --> 00:32:28,759
feasible in our reality.

626
00:32:29,000 --> 00:32:30,079
Speaker 1: Wow, okay.

627
00:32:30,240 --> 00:32:34,359
Speaker 2: And they famously had a running gag about defective, frustrating

628
00:32:34,480 --> 00:32:36,799
auto correct on a handheld device.

629
00:32:36,920 --> 00:32:38,920
Speaker 1: Oh yeah, they eat up Martha thing exactly.

630
00:32:39,039 --> 00:32:44,839
Speaker 2: Yeah, that specific maddening experience of autocorrect failure that became

631
00:32:44,880 --> 00:32:49,480
a universal daily annoyance only after smartphones became ubiquitous years

632
00:32:49,519 --> 00:32:52,039
after that episode aired. It's like they were observing the

633
00:32:52,079 --> 00:32:55,720
frustrations of a world just slightly out of ours technologically.

634
00:32:55,079 --> 00:32:58,000
Speaker 1: That's pretty specific. What about the corporate stuff, the Disney

635
00:32:58,000 --> 00:32:59,000
Fox prediction that.

636
00:32:59,000 --> 00:33:01,519
Speaker 2: One's genuinely mind boggling. In an episode from I think

637
00:33:01,519 --> 00:33:04,279
the late nineties, they showed a sign for twentieth Century

638
00:33:04,279 --> 00:33:07,319
Fox and underneath it said a division of Walt Disney Co.

639
00:33:07,960 --> 00:33:10,799
Speaker 1: At the time, that must have seemed completely ridiculous.

640
00:33:10,279 --> 00:33:13,839
Speaker 2: Totally absurd, a hyperbolic joke about media consolidation run wild.

641
00:33:14,240 --> 00:33:16,160
But then flash forward to twenty.

642
00:33:16,039 --> 00:33:19,160
Speaker 1: Nineteen and Disney actually buys Fox. It became concrete reality.

643
00:33:19,440 --> 00:33:22,480
Speaker 2: It wasn't just a lucky guess about corporate trends. It

644
00:33:22,559 --> 00:33:27,279
was the specific companies, the specific outcome portrayed decades earlier.

645
00:33:28,000 --> 00:33:31,319
In Dick's terms, it's like the writers momentarily perceived the

646
00:33:31,359 --> 00:33:35,000
reality track the programmer had already selected but which hadn't

647
00:33:35,039 --> 00:33:37,039
actualized in our linear time yet.

648
00:33:37,240 --> 00:33:41,079
Speaker 1: And the scientific or architectural details those can be even weirder.

649
00:33:41,200 --> 00:33:42,920
Speaker 2: Like Blankie the three eyed fish.

650
00:33:42,759 --> 00:33:46,680
Speaker 1: Right found near the Springfield Nuclear Power Plant, a symbol

651
00:33:46,759 --> 00:33:48,359
of pollution in the show.

652
00:33:48,079 --> 00:33:53,079
Speaker 2: A memorable gag, but then years later, real news reports

653
00:33:53,119 --> 00:33:56,640
and photos surface of an actual three eyed fish caught

654
00:33:56,680 --> 00:33:59,960
near a real world contaminated nuclear facility in Argentina.

655
00:34:00,200 --> 00:34:02,119
Speaker 1: Whoa wait for real, for.

656
00:34:02,079 --> 00:34:05,359
Speaker 2: Real the specific buttation three eyes linked directly to the

657
00:34:05,400 --> 00:34:09,760
context of nuclear contamination. The parallel is just breathtakingly precise.

658
00:34:10,199 --> 00:34:12,679
Or the London shardbuilding what about it? There's an episode

659
00:34:12,679 --> 00:34:15,000
where they show a skyscraper in London and its design

660
00:34:15,039 --> 00:34:18,199
is uncannily similar, almost identical in shape and placement to

661
00:34:18,239 --> 00:34:21,039
the shard, but the episode aired more than a decade

662
00:34:21,079 --> 00:34:22,840
before the shard was even designed or built.

663
00:34:22,880 --> 00:34:26,639
Speaker 1: Okay, stop, that's getting freaky. Nobel Prize winner is predicted too, Yep.

664
00:34:26,960 --> 00:34:29,840
Speaker 2: An episode showed a betting pool on Nobel Prize winners,

665
00:34:30,119 --> 00:34:33,679
and one character's pick for Economics matched the actual winner

666
00:34:33,760 --> 00:34:35,480
years later. The list just goes on and on.

667
00:34:35,639 --> 00:34:39,239
Speaker 1: So the question becomes is this just an incredibly long

668
00:34:39,280 --> 00:34:43,559
string of bizarre coincidences from really smart observant writers.

669
00:34:43,519 --> 00:34:46,400
Speaker 2: Were Are they somehow functioning differently? Are they acting as

670
00:34:46,400 --> 00:34:51,760
conduits unconsciously capping into that manifold of partially actualized realities

671
00:34:51,800 --> 00:34:54,440
that Dick theorized about. Are they getting glimpses of the

672
00:34:54,440 --> 00:34:57,079
adjacent layers the timeline's about to be swapped in.

673
00:34:57,400 --> 00:35:00,760
Speaker 1: If you accept Dick's premise reality as stacked tree transparencies

674
00:35:01,119 --> 00:35:04,599
constantly being refined, then the Simpsons pressience suddenly looks less

675
00:35:04,639 --> 00:35:08,519
like random luck and more like evidence evidence of minds

676
00:35:08,519 --> 00:35:10,719
momentarily perceiving the layer just above ours.

677
00:35:11,079 --> 00:35:15,360
Speaker 2: It makes the uncanny prediction seem well almost logical within

678
00:35:15,440 --> 00:35:19,719
that framework. The ultimate creative act isn't just imagination. Maybe

679
00:35:19,719 --> 00:35:22,480
it's briefly perceiving the reality that's one square head on

680
00:35:22,480 --> 00:35:25,119
the cosmic chessboard. So we've taken quite a journey here,

681
00:35:25,199 --> 00:35:28,519
a deep dive into this really unsettling but also kind

682
00:35:28,559 --> 00:35:32,480
of vast idea, the possibility that reality isn't fixed, that

683
00:35:32,519 --> 00:35:35,199
it might be programmed actively changing.

684
00:35:35,000 --> 00:35:40,440
Speaker 1: Yeah, covering orthogonal time, that sideways shift, the potential role

685
00:35:40,519 --> 00:35:43,760
of an intelligence like Blis, and all those traces left behind,

686
00:35:44,159 --> 00:35:47,119
the glitches, the deja vus, the Mandela effect, even maybe

687
00:35:47,119 --> 00:35:49,239
these weird pop culture predictions.

688
00:35:48,719 --> 00:35:51,920
Speaker 2: And ultimately it leaves us questioning everything, doesn't it is

689
00:35:52,000 --> 00:35:54,880
reality as solid and singular as we assume, are we

690
00:35:55,119 --> 00:35:59,880
maybe unknowingly already constantly slipping sideways through these alternate timelines

691
00:36:00,039 --> 00:36:01,039
they get refined.

692
00:36:00,880 --> 00:36:04,000
Speaker 1: And thinking about that refinement process, that constant improvement drive

693
00:36:04,079 --> 00:36:06,239
Dick talked about, brings us right back to the chess

694
00:36:06,239 --> 00:36:08,000
game analogy for a final thought, right.

695
00:36:07,880 --> 00:36:11,159
Speaker 2: The game between the destructive force and the guiding programmer.

696
00:36:11,400 --> 00:36:16,119
Speaker 1: Dick suggested, maybe poetically, maybe literally, that we instinctively pray

697
00:36:16,440 --> 00:36:18,639
or hope to be included on the winning side of

698
00:36:18,679 --> 00:36:23,039
that game. We ask subconsciously perhaps not to be left

699
00:36:23,039 --> 00:36:26,320
behind on a discarded timeline, stuck under the influence of

700
00:36:26,360 --> 00:36:28,039
that blind destructive force.

701
00:36:28,199 --> 00:36:32,079
Speaker 2: Because if the programmer is constantly refining the universe, always

702
00:36:32,119 --> 00:36:36,400
substituting a better reality, always moving towards greater freedom, love,

703
00:36:36,639 --> 00:36:40,280
order than the ultimate outcome, the victory of that constructive

704
00:36:40,320 --> 00:36:44,920
force is essentially predetermined. The higher player, the guiding intelligence,

705
00:36:45,239 --> 00:36:46,760
is destined to win the match.

706
00:36:46,920 --> 00:36:50,480
Speaker 1: So the grand cosmic victory is already decided. The only

707
00:36:50,519 --> 00:36:52,760
real question left, then, is a personal one. It's about

708
00:36:52,800 --> 00:36:55,119
our alignment, our orientation within that game.

709
00:36:55,239 --> 00:36:58,239
Speaker 2: Exactly, are we, through our choices, our thoughts, our actions,

710
00:36:58,360 --> 00:37:01,840
aligning ourselves with the chaos, the entropy, the suffering represented

711
00:37:01,880 --> 00:37:04,440
by the losing player, the force that's blind to the

712
00:37:04,440 --> 00:37:05,079
bigger picture.

713
00:37:05,400 --> 00:37:08,360
Speaker 1: Or are we consciously trying to align ourselves with the

714
00:37:08,400 --> 00:37:14,599
constructive force, with those better variables freedom, beauty, love, truth,

715
00:37:15,280 --> 00:37:18,239
order that the programmers constantly weaving into the next iteration

716
00:37:18,280 --> 00:37:21,800
of reality. Are we choosing to be moved along with

717
00:37:21,840 --> 00:37:22,920
it onto the better track?

718
00:37:23,320 --> 00:37:27,079
Speaker 2: It suggests our choices have ontological weight, that aligning with

719
00:37:27,159 --> 00:37:30,480
the good isn't just a moral preference. It might be

720
00:37:30,519 --> 00:37:32,719
how we ensure we're part of the reality that continues

721
00:37:32,760 --> 00:37:35,920
to be actualized and refined, rather than being left behind

722
00:37:35,960 --> 00:37:39,480
as raw material from a discarded, less optimal world.

723
00:37:39,880 --> 00:37:42,519
Speaker 1: Consider what that means practically, How do you live a

724
00:37:42,559 --> 00:37:45,599
life aligned with that highest potential reality the winning side

725
00:37:45,599 --> 00:37:48,800
of the board. That choice maybe determines whether you're carried

726
00:37:48,800 --> 00:37:51,280
forward in the great reprogramming or left behind.

727
00:37:51,480 --> 00:37:54,159
Speaker 2: Think about that. Maybe the next time your hand reaches

728
00:37:54,199 --> 00:37:56,559
for a swift that isn't there, or you experience that

729
00:37:56,679 --> 00:38:00,440
jolt of deja vu, maybe did just shift squares in

730
00:38:00,480 --> 00:38:03,159
the universe. The programmer is waiting to see your next

731
00:38:03,199 --> 00:38:03,840
conscious move