In Q1 2021 I have made negligible progress on the Sermons. Technically not nothing – there’s a little bit of work on translating the second Sermon into German – but still a lot of lost time.
The reasons are the usual – the kids and my job are taking so much out of me there’s not enough left. And we’re still in lockdown because Covid-19 is faster at mutating than we are at producing vaccines. Humanity and I need to get our shit together.
A bright spot was that I discovered the ReEnchantment podcast by Daniel Lev Shkolnik, who seems like a fellow traveller on this mostly untrodden path and does a wonderful job developing rich spirituality without supernatural assumptions. If you like the Sermons you will probably like this podcast and should check it out.
I made zero progress on the fourth Sermon in the fourth quarter of 2020. On top of the pressures of my full time job and three small kids and various health problems, the rising number of Covid-19 cases has led daycare to be closed and made life more difficult in a large number of small ways – like how difficult it is to find a babysitter now.
I was previously more optimistic than most on a Covid-19 vaccine, but not optimistic enough. Still, with vaccinations starting, I’m now less optimistic than most because the new mutation from southern England appears poised to outrun the pace of vaccination. (Seems like the smart people focused on developing vaccines and left the tasks of production and distribution to less smart people.) This makes it unlikely I will make much more progress in the first quarter of 2021.
It has occured to me that Im Flug durch Raum und Zeit gives me the opportunity to perform it at local open mike or poetry slam events, once the pandemic is defeated. The English language sermons I have read at international meditation meetings and conferences, but those take days of travel and I don’t know when I’ll be able to afford that kind of expense of time again. Something like a poetry slam could be done in an evening which seems a reasonable target. Of course the sedate pace at which I usually present the sermons would be completely inappropriate there, so I shall experiment with speaking much faster, perhaps like this:
I translated this great song because of a stupid mistake: I thought there was no German translation. I could only find a “wedding version” that swaps out all of the lyrics except the “Hallelujah” and replaces them with new text about marriage. I’m sure that’s dear to someone’s heart, but it isn’t a translation. So I thought I’d write one, and make it a Christmas gift to my mom.
I later learned there actually are at least two translation already. Since I wrote my own independently, this is an opportunity to compare them. This won’t be biased at all!
Ich hörte den geheimen Klang
von König Davids Lobgesang
Nicht dass Musik dir wichtig wäre, oder?
Vier, Fünf in Dur, dann Sechs in moll
mit B-Dur ist die Folge voll
So schrieb der König staunend Halleluja
The formidable speech generation tool 15.ai is finally back online and it lets Twilight Sparkle, the Princess of Friendship (if you don’t know who that is, you need to watch My Little Pony: Friendship is Magic) read “Adrift in Space and Time” in her own inimitable (well, actually, obviously imitable) style. A welcome diversion from my own sedate cadence…
I have made zero progress on the fourth Sermon this quarter, while a lot of other good things happened. My daughter Matea was born! So now we have three children and the oldest is three years old, for guaranteed 24/7 excitement. I’ve spent the last couple of weeks on paternity leave exploring the finer details of extreme sleep deprivation.
The plan to work on a translation of the first Sermon into German has been going much better than expected. Despite the circumstances, a first draft is nearly complete at 68 out of 80 stanzas.
In the first quarter of 2020, the most important thing that happened was not the COVID-19 pandemic. That was just another stupid pathogen senselessly murdering innocents. Temporarily bigger than the flu, but going to be much more short-lived, and still way smaller than tuberculosis or malaria.
No, the most important thing that happened in the first quarter of 2020 was our response to it. With unprecedented swiftness, our entire species coordinated to counter this new threat. There have been previous global campaigns against infectious diseases, such as the eradication of smallpox and the imminent eradication of polio. In number of life-years saved, these are among the greatest successes humans have achieved. But those lasted for decades, to end enemies older than civilisation. Against COVID-19, we are demonstrating a swiftness of species-wide teamwork that is entirely new – a level of coordination capability never before seen in the observable universe. Nobody can seriously doubt we are now more capable of fighting a pandemic than we ever were – and since there is a lot of obvious room for improvement, we’re already looking for ways to do even better next time.
Why talk about this in a progress report for a poetry project? Because this is the exact thing that the fourth Secular Sermon, the one I’m currently writing, is about: humanity’s unique ability to cooperate that allows, and forces, progress. Our growing ability to stop a mindless virus from killing millions of thinking, feeling humans is just about the most unambiguous example of progress that I can think of.
In the fourth quarter of 2019, the fourth Sermon has again progressed very little. A few more stanzas are written, some stunted bits are removed, but there’s a strong sense I’m falling behind my own expectations.
The title of the fourth Sermon is now final. It will be called “The Labor of Humanity”. Some incremental improvements have made their way in, but overall there has been little progress. I continue to be stuck on what is probably the last particularly difficult bit. After that, the work should proceed into the polishing stage for another couple of months. If I find a solution soon, I might be done by the end of the year. Or maybe not.
I show you my great masterpiece of which I am so proud and all it is is fantasies of being cared about.
I have had various serious difficulties. This weekend, I was hoping to go on a creative writing retreat, live in a hotel for two relatively distraction-free days and get much of the remaining work on the fourth Sermon done. It was a gift from my lovely wife. Unfortunately it turned out to be impossible to square with my other duties. Before that, a special meeting of creative designers of meditations and rituals turned out to be impossible for me to attend as well. I will miss out on a lot of input, feedback and motivation I was hoping to get there, and I’m losing the urgency of wanting to have something new to present there. And before that, as I have previously mentioned, a significant part of what I have written for the fourth Sermon turned out to be not good enough.
Last Saturday, a film crew filmed me reading a bit of the Seven Secular Sermons in a formal meditation setting. This is for ARD, Germany’s federal public service broadcaster. They’ll be running the movie at 17:30 on the 10th of November, apparently. Six of my friends kindly came together on short notice to play meditating extras. For the text, I chose the first half of the work-in-progress fourth Sermon.
The movie isn’t actually about the Sermons of course. They only get the publicity because I write them, and I in turn only get the publicity because my dad is famous as a hero of the overthrow of the East German dictatorship. The movie is about what it is like to have that kind of parents. I snuck in the bit about the Sermons and hope it makes the cut.
This air we breathe was breathed before, by parts of life now dead. It flows from lung to lung, to more and future lives ahead.
We breathe what must someday have been some creature’s dying breath. To feel this breath right now can mean to feel the touch of death.
I have begun reading the first part of the fourth Sermon to people, and found it doesn’t quite work. I always knew this is a possibility with every Sermon – I’m so close to them I have an inside view that makes me a poor judge of what is effective for others. So I take care to seek feedback from readers and listeners, and incorporate it as diligently as I can. But that doesn’t feel right when I’m in the very beginning of a Sermon, where the pieces don’t even hold together yet. So I’ve gone without feedback for a long time, and now that I get some, I find I’ve deviated from the hypothetical optimum more than usual. So over the last couple of weeks, I’ve been reworking and improving things that I thought I had pretty much finished.
A bit more is written. There is a decent first draft of the first 40% of the fourth Sermon, and a great number of bits of and pieces that I need to string together into the remaining 60%. I will rework the beginning part first and then keep adding to it in a more or less sequential fashion. So I’m basically in the synthesis stage again. Right now my attempt to finish the fourth Sermon this summer looks a bit precarious, but it might still work out.
Vast waves of researchers must crash on cliffs of ignorance to grind them down into a stash of knowledge fine as sands.
I first saw automatically generated poems in 1998. They were randomly arranged picks from a corpus of clichéd goth lines, clearly terrible and presented as a parody on terrible goth poetry. I had run into them because I had just started to study IT and this was one of the first examples of CGI programming that I had happened to find. I played with it for longer than I might have, because I was writing terrible goth poems.
Anyway, I did know about the Turing test (where a machine passes if it cannot be reliably distinguished from a human) and I knew machines were getting better at seeming like humans, because my dad was having way too much fun coding a chatbot and pointing out how it was better than ELIZA. Those terrible poems seemed like the same kind of thing, where machines would inevitably get better at seeming human. And poems are clearly easier to fake than conversation. So, it has been twenty years. Did the machines get better at poetry? Oh yes. Oh hell yes.