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All of history derives from the three pound "Zeus" universal projector caged inside
the bone planetarium of the skull. The show, day and night, must go on. Each of
these projectors contrives to have other like projectors contend with the existence of
their own.

Every projector must either believe in its show or in someone else's. That is, they
either merge their show with another more powerful show and become part of it or
others get them to merge with theirs. The third choice, and very seldom exercised, is
to do neither of the first two alternatives but to simply understand the nature of
projectors including one's own and therefore stand independent of the struggle.

Such projectors and their shows are formed from birth and partake of their formative
process. That is, the content of their shows are strictly a result of the cultural softwear
fed into the natural hardware. The fundamental value of all programmed shows being
run at any moment is the LIE (Life Is Everything, that is, the Selfish Gene). The LIE
is what the show is all about no matter what cultural form or contents the show seems
to be projecting.

The insights of Weston LaBarre are useful here to highlight my main themes. He
understands Religio (which includes all forms of the projective mind such as myth,
dreams, fantasy, magic, hallucination, psychopathy, etc. as well as religions) as
originating from a charismatic individual with an extraordinarily powerful
(convincing and coercive) projector capable of converting large numbers of others to
his projective vision of reality.

These individuals are the sacred and set apart ones whose ability to operate out of the
Rem-like dream/visionary state and identify with the whole of the psychic disposition
of the mind in its "numinous" and "awful" spiritual domain, gives them the power
over others to enlist them in the necessary reification/deification of their fantasy as

As LaBarre puts it, "a religion is a kind of group dream, the subjective poetry in
which, supporting one another's faith or need to believe, we strive desperately to
believe. A large component of every religion is willful belief ...the need to coerce
men to believe in what 'common sense' already knows to be untrue. Charisma, which
seems to be a 'supernatural' rightness streaming from the charismatic individual, is
merely the emotional welcomeness of his message, deja vu in the prepotent
unconscious wishes of each communicant."

In other words, the charismatic man, the one who would be god and impose his dream
vision upon all others as reality, must somehow convince, convert, coerce and
conquer those other projectors into believing his version of what is. Every such self-
intoxicated, narcissistic god-man's life is essentially about getting others to reify and
deify his infantile desires and omnipotence fantasies. This he must do in order to
keep his projector intact and running. The effort he must make to see that this occurs
is proportionate to the discrepancy between his dream and reality.
Also, historical timing plays a large part in his acceptance. As LaBarre shows, what
he calls the "crisis cults" of such charismatic persons, came into being because of the
decline of the holding power of the traditional religious ethos. Individuals in such a
period of psychic value change and subsequent disturbance, are extremely vulnerable
to a new projector's show which can fulfill their mind's dependency needs and
dissipate the uncertainty their social norms failings have caused.

The charismatic projector--man-god--usually charges a total admission to his show: a

complete submission to it. His show is the only one in the universe or so he must
convince all in order to up its demand. Each submitting projector must take on his
film and show only it on his planetarium shell. The initiate must be emptied of his
own vision which is usually done by convincing him of how sinful, limiting,
ineffectual it really is. The clincher being of course to demonstrate how his version of
reality includes death while the man-god's is about life everlasting.

The inferior projector convinced and saved then sacrifices his film, destroys it, to
run only his god's show with all its ritualistic rote obsessions controlling his behavior
and thoughts. Only thus is the doomed servant projector capable of being saved by
the Master projector. He learns to play a bit part in the god's drama and is usually
ecstatic with the grace of being allowed such self-immolation.