Many artists, especially songwriters, have said that it just came to them, fully formed, all at once.

I know this as well. My best ideas are never laboured – they just pour out of me without thought – as if I am copying them from elsewhere.

If we live in a simulation that is a rerun but allows some people to tap into what it important from the future (coming from the last time the same simulation was run) – then we can get a feedback effect.

Example:

Shakespeare in Run One writes a play. It is well received, so well received that all of England knows his name.

In Run Two, Shakespeare, with the gift of prescience, gets the notion that he is writing a great play. That emboldens him to make it more of what it would be otherwise. It becomes even more successful in Run Two.

In Run Three, the feedback effect continues. All Shakespeare gets is an inkling of its potential, a spark felt from the future. It emboldens him to make the play more x. The play is still a hit, but not as much as Run Two.

Run Four, and Shakespeare only feels the future from Run Three. No matter how it manifests itself, the future feedback changes the play, somehow.

Some artists feel the future so well, and are so good at their art, that every Run causes that art to get better again.

We might be in Run Seventy Four, and we are baffled. How could Shakespeare write such amazing plays that nobody has come close to matching since?

Shakespeare had an advantage – he was there right at the beginning of his type of art – when it first became available to all. Consequently, his feedback effect is from many more years than subsequent artists can have, because they came later. First mover advantage x feedback effect.

In Run One Hundred and Nine, Shakespeare could be a religion…

This first mover advantage x feedback effect could explain curiosities like the oldest Egyptian pyramids being the best ones.

Or Michelangelo.