I see that I've joined the long list of people you've chosen to quote out of context in this thread, but never mind that, it happens.
Anyway, I went back to the first post, which refers to Maria Renold. Renold was a disciple of Rudolf Steiner, the famous esotericist. He was an advocate of A=432 because it was based on "the fundamental resonance of the Universe" - so yes, the Schumann resonance again. Previously. Steiner had advocated C-128 (which of course sets the C an octave higher at 256) for different, esoteric reasons. Both these ideas predate Steiner.
Verdi was convinced to switch from A=435 to A=432 by a theorist, Charles Meerens, who in turn supported A=432 because of a relationship with C=256 (which is not a direct relationship, but contrived) - again, attempting to unify these two esoteric pitches. Following Verdi's conversion to 432, it was adopted by the Italian armed forces and became known as "Italian pitch". Some Italian nationalists are still fighting this battle.
Returning to Renold, simply shifting pitch from 440 to 432 is a gross oversimplification of her work as well. it has to be placed in her work on temperament, which in itself looks in part to that relationship between A=432 and C=256, and proposes different temperaments to closer approach the relationship. You can't just "adopt" the full meaning of 432 without the temperament and the 256 relationship by forcing modern recordings into it.
It turns out that the "scientific" pitch of A=432 and the relationship to C=256 are about esoteric science, not what we would consider as physics today. In particular, some esoteric traditions relate 256 to those comments about calm being "sun-like".
Your history misses out other conventions and results, such as the Vienna convention of 1885 which adopted A=435, the French supported pitch of the time.
So, we have a mixture of esoteric beliefs, Schumann resonance, Steiner and Italian nationalism behind pretty much all advocacy of 432 - just so you understand the origins of what you are supporting. Not that there is anything necessarily wrong with any of this: obviously I'm not a believer, but composers and musicians were, and some still are, influenced and inspired by such ideas in their art, and would have been more so in the high Romantic era.
On the other hand, there is no reason in any of this to start wrecking the work of modern musicians playing at A=440 (or in the case of the Berlin Philharmoniker, A=445 - and other orchestras, I read, also push things up slightly) to fit to these alternative notions of tuning.
If you want to support A=432, then why not play or support the playing of relevant or new music in that tuning yourself with like-minded musicians? For me, that would be a proper expression of the belief.