Placeholder Image

Subtitles section Play video

  • Hello, everyone.

  • It's been a very strange day, so I'm going to tell you about what happened, and then I'll start the lecture.

  • So I I got up this morning and, uh, started to put my day together.

  • And then I tried to sign into my Gmail account and it said that it had bean disabled because I violated the terms of service with Gmail, and I thought, Well, I didn't violate any terms of service that I know of now.

  • I set up a new YouTube channel yesterday called Jordan Be Peterson clips, and so we made some technical changes.

  • And so I thought maybe it had something to do with that.

  • And I had been shut out of Google one other time years ago.

  • So when you get shut out like that, there's a little form you can fill out.

  • And so I filled out the form and I said that I had been shut out and uh, that I didn't know why, and I sent it off.

  • And then I realized one of my staff members called me and said that she was locked out of the YouTube account and I thought, Oh yeah, the YouTube account is hooked to the CI e mail account.

  • So that meant that I couldn't get access to any of my YouTube videos.

  • They were still up on online, but I couldn't get access to them.

  • I couldn't post last week's Biblical lecture for for, for example, and so that was worrisome and made me suspicious.

  • And then a boat.

  • Two hours later, something like that.

  • I got an email from Google and they said that they had reviewed my request to be reinstated and that I had violated Google's terms of agreement or terms of service, and they weren't going to turn my account back on.

  • And I thought, and they didn't say why.

  • They didn't say anything I got There is no warning whatsoever about any of this.

  • They didn't tell me why, and they didn't say why in the email response.

  • And so I wrote him back and I said, because they said I could.

  • I wrote him back and I said This might not be a good idea, basically, and you might want to think about it.

  • And then I tweeted tweeted what had happened right?

  • I took screenshots and I tweeted and I contacted a whole bunch of journalists because it turns out that I know a whole bunch of journalists.

  • And so and so then what happened then was that, um I got a call from the Daily Caller in the United States.

  • I had done an interview with them last week, which isn't posted yet, and they interviewed me and within 20 minutes posted it online.

  • And so they have a fairly big audience.

  • And so that was good.

  • And then somebody phoned me from Ottawa and I did a live radio show about that, and that was good.

  • And then a number of other journalists contact me, and I sent them the information.

  • But another one of my staff and actually my son e mailed me and he said, Look, you should hold off because maybe there's still a mistake here and I thought, Yeah, there might be it might be just a mistake.

  • But then white in the world did.

  • I e mailed Google and they contacted me and they said they would not reinstate it, and they didn't provide me with any information.

  • So I contacted the other journalists and I said, Well, you never know.

  • Maybe this is just a mistake.

  • So let's hold off then.

  • Well, I was about half an hour later, while I was trying to get into my I used this AdWords account that's looked linked to Google.

  • I don't run ads on my videos, but I need the AdWords account because it helps me add some little gadgets to the videos that I wouldn't otherwise be able to.

  • And I was.

  • I was playing with that.

  • The system came back online.

  • I thought, Well, that's interesting.

  • And lots of people that e mailed me and twittered me and some people within Google and some people elsewhere, and they were doing whatever they were going to do to help me get all this material back up and running.

  • And so something worked.

  • My suspicions are that what worked was the publicity.

  • Now so but maybe not.

  • You know, it's very weird being in this situation, because there has been a number of recent episodes where these larger companies Facebook, Google, patri on.

  • Not that it's a massive company, but it's starting to become reasonably significant, have decided on rather arbitrary grounds to shut down their users.

  • And this is very ominous to me, partly because we've we've turned our communications over two very large systems or very large systems have emerged to mediate our communication, right?

  • I mean, there's lots of benefit to it, so you don't want to get too cynical about it.

  • But we're blind with regards to the policies that regulate the the the actions, the regulatory actions of these large organizations.

  • And that's really a bad thing.

  • And something else is even more ominous, really ominous.

  • You know, it's highly probable that we're going to build political algorithms into artificial intelligence, and this sort of thing will be regulated by machines that no one understands.

  • And that's a really bad idea.

  • And that's a really likely possibility.

  • So, anyways, I was all confused about this.

  • I thought, Jesus, maybe I flew off the handle, you know, because I was sort of it was stressful, man, you know, because I have like, 100 and 50,000 emails in that account, like, That's a lot of emails, and it's all my correspondence for the last 10 years, you know.

  • So it's an archive as well as an ongoing email system.

  • I have a commercial email system that I just set up three weeks ago with, like six different email addresses now to try to organize my correspondent.

  • So I wasn't completely unable to communicate.

  • My calendar was gone, and that's a bloody disaster because, like, I've got things scheduled out forever, and I don't remember what they are.

  • I can't even remember what I'm doing in a day so much less in a month.

  • But I thought maybe I flew off the handle and I was worried that I contacted the journalist too soon and you know, but anyways, it all worked out.

  • So then what happened?

  • Well, just as I was coming to this lecture, I stepped outside and there's little package outside.

  • Luckily, it wasn't a bomb.

  • There's a There's a package outside.

  • Nice little packages We look.

  • My wife and I looked inside it.

  • There was a couple of bottles of wine in there that was nice.

  • And there was a little note, and so I'm going to read you the little note because it's actually pretty interesting.

  • So So this person said that they had finally tackled the self are throwing sweet, so they seem to be happy about that.

  • But that's not so interesting except peripherally.

  • A friend on Twitter has contact with Google engineers, she said.

  • Quote.

  • I spoke with some friends inside Google who offered to help, and I did get contacted by quite a few people at Google who said that they had been watching my lectures and so on and were happy about what I was doing.

  • Anyways.

  • I spoke with some friends inside Google who offered to help, but they suggest he set up a back up plan, the team's air feeling significant pressure from advocacy groups and quote, I haven't least four Google engineers who offered to speak up on his behalf, but they know the team dynamics and, unfortunately, especially YouTube is an S J W cess pool.

  • I hope this information is useful to you.

  • It's like, Yeah, it's kind of useful.

  • All right, so there was That was part of what happened today.

  • And so anyways, I still don't really understand it, right, because I don't know why it got shut down and I don't know if anything, I did go to turn back on, and I don't know the reasons for it, and that's also rather ominous.

  • It seems to me that when I was thinking it through and was that?

  • I know I have a fairly What would you call it?

  • Respectable YouTube following.

  • I don't know if you'd necessarily call it respectable.

  • It's fairly large YouTube following.

  • And it seems to me that it would have bean appropriate for Google if they were going to shut down my account to tell me why I would think and also maybe looked me up maybe, especially after I e mailed them.

  • And then maybe not to have emailed me back and said, No, we're not going to reinstate you, but we're not going to tell you any reasons that they didn't say they wouldn't tell many reasons.

  • They just didn't tell me any reasons.

  • And then it also seems very strange to me that it just all a sudden went back on after two hours and so well, so I don't know what to make of that.

  • Maybe more information will come to light over the next few days.

  • I hope that I didn't jump the gun, but it's very a very peculiar set of circumstances.

  • I thought it was kind of amusing, actually, that the video that they stopped me from posting today was the last biblical lecture.

  • You wouldn't necessarily think that that would be the sort of thing that people would want to stop from being posted.

  • But, um, we're in very, very strange times.

  • So that was my adventure for today.

  • And so I didn't You know, I hate speakers who apologized to the crowd before they talk to them.

  • Because, you know, if you're speaking to people and they put all this effort into coming, then you shouldn't tell them what a sorry and useless creature you are before you talk to them, you know, and ask for their forbearance and forgiveness.

  • It's like it's a little you're a little late for that.

  • But I'm still going to do that a little bit today because, you know, I wanted to spend all day preparing this lecture.

  • I mean, I've prepared a lot before him, but that rattled me up a lot.

  • And so I didn't prepare a CZ much as I could have anyways will stumble forward and see how it goes.

  • I I'm I'm I'm reasonably familiar with the stories now.

  • And so onward and upward.

  • So I'm going to reiterate this.

  • You know, I've learned something.

  • I have this idea that it would be a good idea for young people on Boulder people, citizens of the West, let's say to learn more about their culture and their civilisation, right, because it's a great civilisation and its it's taken a lot of work to put together.

  • But I don't think that we really know.

  • I mean, I know a fair bit about it, although I wouldn't consider myself nearly as educated as a person should be.

  • But I'm not too badly educated.

  • And But I tell you, going through these biblical lectures, verse by verse just makes me even more aware of how unbelievably ignorant I am.

  • No, and partly for 22 reasons like one is because I've been using this Bible hub dot com place, and I think I told you last week, but I wanted to reiterate it, cause it's important.

  • It's so interesting the way that they've set it up, because you could go through the biblical stories verse by verse, and then for each first There's a hole small font page of commentary from multiple sources.

  • And so you know, not only is the Bible hybrid hyperlinked in the way that I discussed in the first lecture with all the versus referring to not all the other versus but lots of them.

  • But it's un.

  • It's got its tendrils out into literature, you know, direct commentaries on the text, but also all the all the literature that's being influenced by it.

  • So it's it's it's unbelievably central and core text, and it's so interesting to read a book where every sentence has been commented on what really in volumes.

  • And then just to get a sense of that volume of material, you know how much power brainpower there's been put into this and and to also understand how bloody, ignorant, like I'm so ignorant about this.

  • There's all this work, and it seems that we've left it to decay in the dust, and it's a big mistake, man.

  • It's a big mistake because the people who were writing these commentaries like, you know, a lot of it's from the 14th and 15th and 16th century.

  • It's kind of archaic, and it's and it's some of its outdated and some of it you wouldn't agree with.

  • But if you read all the commentaries side by side, you know you get a pretty good blast of wisdom coming at you and like the thing about wisdom is, it stops you from running face first into walls.

  • You know, it's not just their toe, too, so that you can talk to people at parties about what university you graduated from, you know, and it's there because the information is unbelievably useful.

  • You know, one of the things that I've realized that I want to return to tonight because I've been thinking a lot about this idea of the Ark.

  • You know, I think I mentioned to you last week that I'd figured out that there is this idea that Noah was perfect in his generations, and that meant that he has said his family in order wasn't just him.

  • But he had said his family in order.

  • And because of that, when the catastrophe came like it comes to everyone, he was able to withstand it because he had the support of the people who were near and dear to him.

  • And that's really important when things come along to lay you low like if you're alone and the flood comes, it's like man, good bye to you.

  • If you've got 10 or 15 people supporting you in a tight network, you know, and and your inter relationships with them are pristine, and you can tell them the truth and they can tell the truth back to you.

  • It's possible that you might be able to find that thin way that will preserve you.

  • When, when?

  • When?

  • When you know the terrible things come knocking at your door.

  • And so there's This idea of the Ark is very, very concrete in Noah.

  • It's actually a structure that that he inhabits, You know, it's a con critized, almost like a child's story.

  • And I'm not being cynical about that because there are some bloody brilliant child's Children's stories.

  • But, you know, it's really concretize.

  • But then Abraham comes along, and instead of a narc, there's a covenant.

  • Right now, it says in the story of Noah that Noah walked with God.

  • And of course, Abraham.

  • It isn't clear, exactly did.

  • He's walking with God or before God, which will get into later.

  • But you see, I see this is part of the increasing cycle psychology ization of the sacred ideas that were acted out by archaic people.

  • So first of all, it's Kong critized in the form of ah ship that actually sustains you when the floods come, right?

  • It's very concrete imagery, the sort of thing you might see in a movie.

  • But then, with Abraham, it turns into a psychological covenant.

  • In some sense, it's like a contractual agreement.

  • Now it's a It's a contractual agreement between Abraham and God, but But that doesn't really matter that let me know if you think it matters.

  • But it's that it's only it's only half of what's important about that.

  • The other half is that it's a contract.

  • And you know, one of the things that you do with your ideal, let's say, is you establish a contract with you also established like a social contract with other people, right, that that's what keeps society organized.

  • And so there's this idea that emerges in the Abraham stories of a sacred contract, and that has the same function as the Ark and what it does because what happens in Abraham Will Seymour this today is that he you know God tells him to go forward into the world, and we've talked about that last week, and he does that the encounters, famine and the encounters tyranny, and he encounters powerful people who want to take from him.

  • What is his?

  • I mean, God sends about in the world, but it's not like he has an easy ride of it.

  • It isn't easy at all.

  • It's a hard as it can be.

  • But there's this consistent emphasis in the text, and I think it's something really worth attending to that if you maintain your contract, which and that has, that has to do with honesty and trust and truth and all of those things.

  • If you maintain your contract, then you have a good possibility, the best possible possibility of making your way through the catastrophe in the chaos.

  • And I don't want to be naive about this.

  • You know, when I read Young and I started to understand the idea of the hero archetype, you know the idea that the human being is a is a force, a logos force that can stand up against chaos and catastrophe and tragedy and evil and prevail.

  • I never did think that that meant that if you did stand up on Dhe, tell the truth that you would necessarily prevail, right?

  • It's not it's not.

  • It's not a magic trick.

  • It's your best bet.

  • That's the thing, you don't have a better option.

  • And so and that's what that's what that I see the ideas emerging in in the Abrahamic, Texas, like people are figuring this out.

  • That would be progressive revelation.

  • That's one way of thinking about it, and you can think about that religious terms.

  • But you can also think about it as humanity, consulting itself right, each individual talking to themselves, which is what we do when we when we think each individual communicating with every other individual and gathering ah, body of wisdom that helps people or orient themselves in the toughest conditions.

  • And it's an incremental process.

  • And I think that I really do believe that that's speaking purely secular early.

  • I do believe that that's what manifests itself in the biblical stories, right?

  • It's the dawning enlightenment of mankind, something like that.

  • As we start to understand the principles by which we have to live in order to orient ourselves properly in the world.

  • So and I also do believe, and this is this is the thing.

  • That's the unspoken question is like, you don't you don't have any idea how rich and fulfilling your life could be.

  • Despite its tragedy and limitation.

  • If you stop doing the things that you know to be wrong, it's a really grand experiment.

  • And you know, one of the things that God tells Abraham constantly, as as the story progresses, especially every time Abraham makes a sacrifice is God says, Walk with me and be perfect.

  • It's something like that.

  • And so the injunction is, well, aim high established this relationship with the highest thing that you can conceive of which you might as well do that because, well, what you gonna do?

  • Establish a relationship with the most mediocre thing you can conceive over.

  • You're gonna establish relationship with lowest thing you can conceive of.

  • People do that and I wouldn't recommend it.

  • It's a really bad thing, and there's a lot of pain associated with that.

  • And maybe, you know, there's there's pain that can expand in tow, a world destroying force down that route, and there's absolutely no doubt about that.

  • So what is there something superstitious and foolish about attempting to establish a contractual relationship with the source of all being?

  • I mean, I just don't see that as a as an erroneous conception, and, you know, it's not necessary, perhaps to get lost in the details.

  • We can argue forever about what God might or might not be, but we could at least say that the concept of God is an embodiment of humanity's highest ideal, right.

  • We could at least agree on that.

  • And then you might say, Well, is that really?

  • And the first thing I would say about that is, uh, there's a lot of things about the world we don't understand.

  • And the second thing I would say is it depends bloody well on what you mean by Riel, that's for sure.

  • And that turns out to be a very complicated question.

  • So Okay, so we left Abram.

  • Remember at the end last time he had just going off to fight a bunch of kings and get his nephew back, which seemed to be a pretty courageous act.

  • So that brought a story to an end.

  • And it's interesting.

  • I think what happens in the narrative is that there's a story.

  • So Abraham is somewhere and he goes somewhere else, right?

  • That's a story and has adventures along the way.

  • And those adventures are usually the typical kind of adventure, which is a rift in the structure of the story and exposure to a kind of chaos, a novelty and then a reconstitution of the of the motive being so that's classic, classic story, right?

  • You are somewhere.

  • You're a certain way you're moving forward.

  • Something happens that you don't expect.

  • It blows you into pieces.

  • It introduces chaos, right.

  • You, you face the dragon, you get the gold.

  • Or maybe the bloody thing eats you and the story is over.

  • And then and then you get to where you're going.

  • But then the question is what happens when you get to where you're going?

  • And that's really important issue, because one of the things that happens to people all the time in their life is that they get to where they're going, and then they don't know what to do, right?

  • So, for example, you graduate from university.

  • It's like, OK, story over.

  • Who are you now?

  • Who are you the next day?

  • And so So what happens is when you succeed.

  • Then there's a success crisis and the success crisis is well, I've run this story to its end now what?

  • And that's exactly what happens in the Abrahamic stories and they're punctuated by a period of contemplation and sacrifice.

  • So every time an Abrahamic story comes to its end, then Abraham makes another sacrifice and communes with God.

  • And then he figures out what to do next.

  • And that seems that seems right.

  • It seems psychologically right, because what you should do when your story comes to an end, when you've achieved what it is that you want to achieve, or perhaps when you're in terribly dire straits.

  • But we won't talk about that at the moment when you have achieved what you need to achieve, then the next question is Okay, well, now I'm that person or I have that character.

  • What What do I need to do next?

  • And some of that is always Well, what do I need to give up now?

  • What do I need to let go up so I can move to the next plateau?

  • Right.

  • Assuming that your life is a hopefully a sequence of upward moving, what would you call them?

  • It's like sis afis, except you're actually Each time you climb up the mountain, you get a little higher on the mountain.

  • That something like that.

  • So it's cece afis with an optimistic bent.

  • And and And maybe if you pushed the rock up the mountain properly and let it roll down then and if you do that right, then it's okay.

  • Every time you roll it back up, it's it's better.

  • In some sense, I don't think that's unrealistic either.

  • And so, hey, Abraham goes and rescues his nephew from thes tyrannical kings.

  • That's very brave, and he doesn't take any reward for it because as far as he's concerned, it's just a manifestation of the right thing.

  • And then he has another vision.

  • After these things, that's the battle.

  • The word of the Lord came unto Abram in a vision, saying, Fear not, Abram.

  • I'm the shield and I exceeding great reward.

  • And Abram said, Lord God, what will I'll give me seeing I go childless and the steward of my host?

  • Is this ill?

  • Easier of Damascus?

  • An Abrams said.

  • Behold to me, that was given no seed and low.

  • No one born want one born in my house is mine.

  • Air and behold, the word of the Lord came to him saying, This shall not be nine air, but he that shall come forth out of their own own own own bowels.

  • She'll be done here, and he brought him forth abroad and he said, Now look to heaven and tell the stars if you're able to number them, number them And he said unto him, so shall die Seed be.

  • And Abram believed in the Lord, and he counted it to him for righteousness.

  • And he said unto him, I'm the Lord that brought thee out of ER, the Chelsea's to give this land, do you to inherit it.

  • And he said, Lord God, whereby shall I know that I shall inherit it?

  • And then he does this sacrifice.

  • Take me an effort.

  • Ah Heffer of three years old and a she goat and a rabbit, a turtledove and a young pigeon.

  • And then God comes down.

  • And while Abraham goes into a trance, that's what it appears to be in the story, um, and has a great terror.

  • And then go, it appears to him, and I'll just review this commentary again.

  • This is from Joseph Benson, and when the sun was going down, that's about the time when you wash up for the evening and he's he's he's praying and waiting towards evening a deep sleep fell upon Abraham, not a common sleep through weariness or carelessness, but a divine ecstasy that being wholly taken off from things sensible, he might be wholly taken up with the contemplation of things.

  • Spirituals.

  • Very strange, very, very strange.

  • Siri's of interpretations because it does seem that what happens to Abraham that he falls into some sort of revelatory trance.

  • And so, um, when as I've taken some pains to explain, we don't really understand such things, and and we can't rule out their existence because there's too much evidence that they do, in fact occur.

  • Perhaps it's a technology that we no longer possess.

  • That's one possibility.

  • Perhaps we no longer know how to access these sorts of states of consciousness.

  • It's certainly possible, and lo, a horror of great darkness fell upon him.

  • This was designed to strike off on the spirit of Abram and to possess him with holy reverence.

  • Holy Fear prepares a soul for holy joy.

  • God humbles first and then lift lifts up.

  • Yeah, well, I think that's right to like, you know, one of the experiences I've had in my life fairly commonly in a variety of different ways.

  • This is especially true when I was paying a lot of attention to my dreams, which I did for about 15 years, I guess something like that now and then I would feel like I learned some things and had sort of consolidated them.

  • And then before I went to sleep, I think, Okay, I'm ready to learn something else.

  • It's like and I didn't say that without trepidation, and usually because usually when you learn something, you know it's not that pleasant because he usually learned something about why you're wrong.

  • And the deeper the thing that you learn, the more you learn about why you're wrong and there's a death that's associated with that because then you have to let that part of you that's wrong die.

  • And that's that's right.

  • That's the sacrifice, right?

  • And so you have to make a sacrifice.

  • You have to be willing to make a sacrifice before you're going to learn something and the and perhaps you're what you'll learn is in proportion to your willingness to make a sacrifice.

  • And I really do believe that I do believe that as well because I also think that if you commit to something that means that you don't do a bunch of other things, right?

  • So that's the sacrifice of all those other things.

  • You commit to it, you set your sights on it.

  • If you really commit to it and you get the sacrifice right, so to speak, then the probability that that thing will be successful vastly increases.

  • And I think that that's also not a naive or or a naive way of thinking or a foolish way of thinking.

  • I my experiences being that that's the case.

  • And so Dr the Dream.

  • I mean, I do think that we learned in trepidation and that most of the time, if if you have to be laid low before, the new revelation can make itself manifest, and I think that's also what happens to people often and psychedelic experiences when they have a bad trip is they don't get through the bad part of it.

  • And maybe that's because there's so much mess in their lives.

  • Now.

  • I'm speculating, but it's informed speculation.

  • There's so much mess in their lives that the altered state of consciousness makes manifest that it's like a little trip through hell and but the mess is so complete and comprehensive and all pervading that there's no way they can get through it now.

  • If they could get through it and started to sort those things out, then you know there would be perhaps, ah, what would you call it?

  • A compensate?

  • Torrey Positive revelation at the end.

  • But the first thing is, if you want late, learn something is that you're going to encounter well, you have to figure out what's wrong before you.

  • You can figure out what wisdom you need next to guide yourself, and that's no laughing matter, right?

  • And, um, so I think that that's what that's what this refers to.

  • I think that's the sort of psychological experience that that refers to.

  • I also think we built this a little bit into this into the future authoring program.

  • You know, I read this really cool paper once reviewed by this guy named Jeffrey Gray.

  • Jeffrey Gray wrote a book called The Neuro Psychology of Anxiety Man, and that is a great book.

  • It is impossible to read.

  • It took me reading.

  • It took me like, six months to read it, and the reason for that is that he reviewed about 3000 papers and they're all neurological papers and heavy psychological slash biological papers.

  • He actually read them all, and he understood them and he synthesized them.

  • And then he wrote this book about the synthesis, and so and he's very, very careful with this terminology.

  • And so to read the book, you have to understand brain anatomy and you have to understand neural, neural pharmacology and you have to end understand animal behavior.

  • Ah, the whole literature on animal behavior.

  • Not whole whopping dose of human psychology and cybernetics.

  • It's like it's a vicious book, but you really learn something when you read it.

  • If you go through it it by bit, like it's, it's it's had an overwhelming influence on psychology, even among people who haven't read it.

  • Which is most of the people who cited, by the way and so, But he said he outlined this real cool study.

  • Maybe it was a sequence of studies about how to motivate rats.

  • You know, when rats are a lot like us, you know, in positive and negative ways.

  • And, uh, you know, biochemically and and, uh, psycho pharmacologically.

  • They're very, very similar, and they have very complex social environments, and you know they have hierarchies and they play and they laugh.

  • Jack Pancks, F Jac Banks have found out that routes laugh.

  • If you tickle them, you could tickle them with, like the end of a pencil eraser.

  • But you can't hear them laughing because they laugh ultrasonic li like at's.

  • So you have to record it and then slow it down.

  • Then you can hear them giggling away.

  • Would you take a look?

  • So So which is, you know, you think you spend $50,000 on a study demonstrating that rats laugh And you think, Well, wait a second, wait a second.

  • That's a major league study, you know, because he's outlined a alluded circuit.

  • That's a place circuit and Jac Banks have discovered the place circuited mammals.

  • That's a bloody big deal, you know, if you get that by, like rubbing rats with a pencil eraser.

  • Well, good for you.

  • So anyways, so great.

  • Talked a lot about how to motivate a a rat, and you might have heard about B.

  • F.

  • Skinner.

  • You know, he used food pellets to motivate his rats.

  • But what you don't know about Skinner is that those rats were starved to 3/4 of their normal body weight so they would You would work for food, so Skinner's routes were kind of oversimplified.

  • But you can get rats to work for food.

  • They don't have to be that hungry.

  • You can get them to work for food, and they'll do all sorts of things.

  • They'll press levers and and they'll open bar open doors and they'll solve problems.

  • And you know they'll do all sorts of things, and one of the things you can do to kind of measure how much the rat is motivated is, let's say you've run him through a maze and he knows there's some food at the end of the maze.

  • You can tie a little spring to his tail and see how hardy polls when you open the door to the maze.

  • So that's because that's how much rat work the route is willing to do.

  • So you can measure that, or you can see how fast he skitters down the maze, and you can get an estimate about the rats motivation.

  • And so then you might say, Well, how motivated is a hungry rat, and the answer would be depends on how hungry is.

  • But there's another answer.

  • It also depends on what's chasing in when he's going after the food.

  • So if you have a rat and you, you have food over here and you walked in some cat odor.

  • Rats hate cat odor and its innate, they never have to see or smell account to be absolutely petrified by cat odor.

  • And so if you walked in some cat odor and then open the door, that rat will zoom to that food a lot faster than it will if it's just hungry.

  • So a rat running away from something that it doesn't want towards, something that it does want is a very motivated rat.

  • And so one of the things we did with the future authoring program that's Jermaine to this idea of terror.

  • Because there is this idea in the Old Testament.

  • The fear of God is the beginning of wisdom, and it's a pretty harsh idea, But but there's something really useful about it because one of the things you see with people all the time is that there, maybe they're trying to stumble forward towards their ideal as poorly defined as it might be.

  • But then they're afraid, right?

  • They're afraid about what they might encounter, and that stops them because fear does stop people.

  • It freezes you like a prey animal, and so people move ahead.

  • But then they get afraid, and then they start moving ahead.

  • And so and that's not so good, because negative emotion is a really powerful motivator.

  • So we're more motivated by negative emotion than positive emotion, quantitatively speaking, quantitative, quantitatively speaking.

  • You can measure that, and that's, I think, because we can only be so happy.

  • But we can really be suffering and debt, you know.

  • So we have to pay more attention to the negative.

  • And that's bad because the negative can stop you and then my clinical practice.

  • You know, I often talk to people who are trying to make a difficult life decision, and they they're weighing out costs and the benefits of making the life decision, you know, and one of the things I always talk to them about is, wait a second.

  • That's an incomplete analysis.

  • You have to weigh out the benefits and the costs of doing this, and you have to weigh out the costs and benefits of not doing that, not doing it, and that's not the same as the zero that you assume that you're starting with right, because to not make a decision, it also has a cost.

  • And sometimes the cost of not making a decision is far worse than the cost of making a decision, even if the decision is risky.

  • And so one of the things you can derive from that and this is very useful, I think, is that this is also, I think, why it's so useful to contemplate your mortality.

  • So to speak is you're screwed no matter what you do, you know.

  • And that actually freeze you is that you have power fade, that has catastrophes, and you have path be that has catastrophes, and you don't get to have the no catastrophe path.

  • But you get to pick which one.

  • And that's really something.

  • Because if you know that there's terrible risk associated with everything that you do and don't do, then you can afford to take some risks because you're not, you know, this is all within the arc metaphor.

  • I'm still making the case that despite the fact that your life is essentially catastrophic, you can you can make a covenant with the highest ideal, and that will take you through it the best way possible.

  • I'm still making that case.

  • So So then you think OK, well, I'm trying to make this decision.

  • I'm gonna go try to do something difficult and isn't that terrifying.

  • And then you think, Yeah, but wait a minute.

  • What's really terrifying is not doing it.

  • And then you think about the cost of not doing it.

  • So in the future authoring program, we have people do this little meditative exercise, which is okay.

  • Just think about your insufficiencies by your own definition, right?

  • The way that you don't do what you know, you should do about the things that you do that you shouldn't do that.

  • You know, you shouldn't do beyond a shadow of a doubt, right?

  • There's some things like that and that that's bad habits and poor aim and all of the resentment and hatred and aggression and unresolved conflicts and all those things that were demanding you and warping you and then think Okay, those things get the upper hand man to get the upper hand and they take you the worst possible place.

  • You could go in the next 3 to 5 years.

  • What exactly does that look like?

  • And so you sketch all that out?

  • You think, Hey, I don't want to go there.

  • And so the next time that a temptation comes up, you think, Well, I'd be a lot better for me if I didn't succumb to this temptation.

  • It's like, That's kind of weak.

  • You look a little better if you didn't eat like a cheesecake a day or something like that.

  • You know, that's that's something.

  • But it's not the same as, um, I'm gonna have diabetes, and I'm gonna lose my damn leg in five years.

  • If I don't get my eating under control, That's motivating.

  • And so then the temptation comes along and you think, Oh, how about No, seriously, how about No, not just because ah, hire good would be obtained if I avoided it, but because a terrible catastrophe would be averted if I didn't and so well, so you want to get your fear behind you, right?

  • You want to get behind you where it's pushing you forward instead of in front of you, where it's stopping you, and you get your fear behind you pushing your foryou forward by actually thinking through the consequences of not putting your life together.

  • And they're the least of those is that you waste it and suffer right, because you're gonna suffer anyways, man.

  • So you wasted and suffer.

  • That's a bad deal, because maybe if you're going to suffer, you could at least do something noble and glorious and upright and powerful and honorable and admirable and helpful and difficulty.

  • You know, that's just so much better.

  • And maybe that's good enough so that you think a, you know, a little suffering.

  • It's basically worth it.

  • At least it's a way forward.

  • You know, at least it's a way forward.

  • And he said unto Abram, know of a surety that thy seed shall be a stranger in the land that is not theirs, and she'll serve those people and nail flicked them for 400 years.

  • God, he's hedging his bets here a lot, right, he says.

  • David will go out, you know, into the world.

  • And then he confronts him with a famine, and he confronts him with a charity and with powerful people who wants to take his wife.

  • And then he loses his nephew and who has a fight with many has to go fight a war.

  • And now you know he's reconstituting this covenant.

  • God says, Yeah, you're gonna have Yeah, a nation is going to come from you, but they're gonna be slaves to tyrants for like 400 years is it's like he's not the great salesmen.

  • Exactly.

  • But But the thing about it is that the thing that I like about it is that it's realistic, You know, you ought to think, too.

  • Who knows why it is that the Bible exists or why people wrote it.

  • But you know, if they're gonna sell you something, I don't know if this is the way to do it.

  • You know, because unless you're a salesman who's sophisticated beyond belief because you'd think that if it was just a matter of controlling the masses, let's say which is one say, Marxist interpretation of religion or or providing people with a primitive defense against death anxiety, which is essentially the Freudian interpretation that you kind of make the deals that God cut with Abraham a little more on the positive and polished side, instead of making them a realistic offer constantly like they are that that's also that that's part of the reason.

  • I think it is reasonable to treat the Bible as literature.

  • It's it's more than literature.

  • It's something other than literature.

  • But you can treat it as literature.

  • And I think the reason that you can treat it as literature's because the characters they're all complex, including the character of of God himself, is complex and sophisticated.

  • It's not one sided, and it's it's paradoxical and incomprehensible at times.

  • But I think good literature's like that because you know, true art.

  • Here's something about true art.

  • This is something I learned from you.

  • It's so smart.

  • He was so smart.

  • So imagine that you inhabit the land that you know conceptually and practically.

  • And then imagine.

  • Outside of that, there's that massive space of things that you don't know, and even outside of that, there's the space of things that no one knows, right, so it's the known territory surrounded by the unknown.

  • That's the canonical, archetypal landscape, and the unknown manifests itself to you, and that's where new knowledge comes from.

  • But the question is, how is that knowledge generated?

  • And it doesn't just leap from completely unknown to completely articulated.

  • In one move that isn't how it happens.

  • It has to pass through stages of analysis before it becomes articulable.

  • And the first stage of analysis, as far as I can tell, is that you acted out.

  • So if something really surprises you the first way that you react to it, your categories actually embodied.

  • You'd like this that that's your first category.

  • It's not conceptual at all.

  • It's embodied.

  • And then maybe you start to like you're at home at night and you know something startled.

  • Seeing you freeze, and then it's dark.

  • And then your imagination populates the darkness with whatever might be making the noise and that that's the sequence.

  • It's like embodied response, imaginative representation, exploration, articulation.

  • That's how information moves from the unknown to the known and artists are the people who stand on that imagistic frontier, and they and they put themselves out into the unknown, and they and they take a piece of it, and they and they transform it into some mythological image.

  • And they don't know what they're doing exactly because they're guided by their intuition.

  • If they're real artists, otherwise they're just propagandists.

  • They have to be contending with something they don't understand and What they do is they make it more understandable, you know?

  • And then people gaze at those artworks or they or they listen to the stories, and then they start to become informed by them, but they don't know how or why.

  • I was at the Modern Art Museum.

  • Museum of Art in New York.

  • I'm afraid I don't remember which one, unfortunately, but I was in this amazing room, you know, It had all these priceless paintings from the from the late Renaissance hanging in it.

  • You know, each painting worth, who knows?

  • A $1,000,000,000?

  • Maybe they're priceless painting.

  • So the room was It's a shrine.

  • And it was full of people from all over the world who are looking at these paintings.

  • You think?

  • Well, what the hell are these people doing coming to this room looking at these paintings?

  • Look.

  • What are they up to?

  • One of them was a painting of the assumption of Mary, right?

  • Brilliantly composed in the rose.

  • All these people looking at it, I thought, What are they doing?

  • They don't know what that means.

  • Like, why are they looking at that painting?

  • Why is it in this room?

  • Why does it cost a $1,000,000,000.

  • Why's that painting worth so much and answered, That is what we don't really know.

  • Like it happened there, their sacred objects.

  • In some sense, we gaze at them in ignorance and wonder, and the reason for that is that the unknown shines through the Mattis and impartially articulated form.

  • And so well, that's the rule of art.

  • And that's the rule of artists, you know, and riel artists.

  • Real artists are contending with unknown right, and they're possessed by they have a personality trait.

  • Open this that makes them do that.

  • They can't even help it.

  • And I've had lots of creative people in my clinical practice.

  • So I can tell you the worst thing for creative people is to not be creative because they just die, and it because it's it's it's It's like maybe you're a tree with a few major branches, you know that's your personality.

  • So if you're extroverted, man, you can't be cut off from people because you just wither.

  • And if you're agreeable, you have to be in an intimate relationship or you die.

  • You know, if you're conscientious, man and you're unemployed, you're just gonna eat yourself up because you have to have a duty and you have to carry a load because you just can't stand it otherwise and open people have to be creative.

  • They have to be because otherwise they die.

  • They don't have any vitality.

  • And so they're cursed with the necessity of putting a foot out into the unknown and making sense of it.

  • And then they're also cursed with necessity of trying to make a living while they're doing that, which they can't because you can't.

  • It's almost impossible to monetize creative creative action.

  • As many of you who are creative will no doubt find out.

  • It's very, very frustrating.

  • It's not that creative action is work without value, right, because the creative people are entrepreneurs and the creative people revitalized cities, and the creative people make things magnificent and beautiful.

  • You think about what's happened in Europe over the last 1000 years, say 2000 years, amazing, unbelievable collaboration to make things so beautiful that their their jaw dropping.

  • When you walk into them, you think about the economic value of that, right?

  • I mean, I think it's it's either France or Spain that's the most visited country in the world.

  • It's one of those two.

  • I think there's more tourists in France than there are people most of the time, and part of the reason for that is it's just so damn beautiful.

  • You just can't stand it, and you think, What's the economic value of that?

  • It's absolutely incalculable.

  • And what's interesting, too, is that you build that beauty in, and then the farther away you get from it in time, the more valuable it becomes right instead of decaying.

  • It has exactly the opposite effect.

  • Its value magnifies.

  • And one of the things that I'm deeply ashamed of as a Canadian is that our sense of beauty is so underdeveloped.

  • Were so primitive praise not even primitive.

  • That's the wrong word because you know I don't what it is, it's it's it's second rate.

  • It's second rate.

  • At least it's terror to because people are afraid of beauty.

  • But the idea that art is the conservatives really have a problem with this in particular, because conservative people tend to want to be that creative, and it's a mysterious Mr by temperament.

  • It's a mystery to me because they should be concerned with economic development and beauteous so unbelievably crucial to economic development and just yells out of you, you know, So anyway, so that's what artists are doing.

  • And so one of the things I would say is by a damn piece of art, you know, find one that really speaks to you and and buy a piece of art because you invite that into your life and it's it's a lookout if you do it.

  • If it's a real piece of art, because you'll also get a you know, a little introduction to the artists, and then that will seep into your life.

  • That will change things like mad, but it's really it's unbelievably worth it because it opens your eyes to the domain of the transcendent.

  • That's the right way of thinking about a real piece of art is a window into the transcendent.

  • That's what it is.

  • And you need that in your life because you're finite and limited and bounded right by your ignorance and your lack of knowing.

  • And unless you can make a connection to the transcendent, then you don't have the strength to prevail.

  • And that's part of the covenant.

  • That's part of the Covenant with God, and you can see that because you look at these magnificent cathedrals that our civilization built over the centuries.

  • You know, some of those.

  • They're still Bill building the Sangre de Familia in, In in Barcelona, right?

  • And it's an amazing building.

  • I think it's going to take them, like, 300 years to build that.

  • You know, people in the Middle Ages, they'd start building a cathedral and they think I will be done this in 300 years.

  • You know, imagine the vision that it took to invest in something like that.

  • We look at quarterly reports.

  • We can't think 300 years into the future to build something of that kind of remarkable.

  • Remarkable what those cathedrals air.

  • So they're they're perfect.

  • They're trees first, right there, a forest, right?

  • The Gothic cathedrals, their their forest and the sun is shining through the branches.

  • That's the stained glass.

  • And they're the perfect balance of light and structure because they're representing something about the proper structure of being, which is something like the proper balance between light and structure.

  • And they represent, like the sacred tragedy of mankind.

  • That's why they're in the shape of a cross and they're open to the sky.

  • That's why they have a dome and they're full of gold.

  • So that glitters because that's like the city of God, you know.

  • And you, you can see that that integral to our culture is the idea that beauty is one pathway towards God and its tenets, saying, If you can't find another pathway, then why do

Hello, everyone.

Subtitles and vocabulary

Click the word to look it up Click the word to find further inforamtion about it