NBC “Revolution” – Amerika Collapses
May 15, 2012 1 Comment
An EMP attack. Don’t forget Jericho, Survivors and Jeremiah.
Blade Runner: Indepth Esoteric Analysis
May 15, 2012 3 Comments
German Film Poster
Highest Levels of Illuminism Revealed
By: Jay
In Ridley Scott’s Blade Runner, we are presented with a prescient, dystopian future based on Phillip K. Dick’s novella, “Do Android’s Dream of Electric Sheep?” We will see that this film is full of not only accurate predictions of the future’s general landscape, but is also suffused with occult imagery and deep symbolic themes, as well as raising crucial moral and social issues. As I will argue, the film operates on several levels: as the immediate story itself, the predictive future level with social critiques, the level of covert operations and mind control, and the deepest level, that of myths, archetypes, and alchemical occult initiatory transformation. All these levels must be integrated to grasp the full import of the film as Ridley Scott conveys it. The deepest level is what holds the other levels together in coherence and meaning.
As the film begins, the viewer is shown the 2020 landscape of Los Angeles, and then an eye viewing the landscape. The eye represents the viewer, and just as I explained in my analysis of Eyes Wide Shut, the viewing of the film itself will constitute an initiatory experience. The viewer is going to be shown the elite plan, yet the eyes of most will remain shut. For the masses, there is no ability to make deeper level connections and associations between ideas, symbols and archetypes. For the viewer who has eyes to see, they are seeing the future itself, as well as the worldview of the ruling class. In fact, Blade Runner ranks with Eyes Wide Shut as one of the most explicit revelations of the method of the ruling oligarchs. My interpretation of this is confirmed by the fact that the film doesn’t show us whose eye we see. In fact, the reflection in the eye shows the scene the viewer just saw of the L.A. cityscape.
It is significant that we are presented with two shots of the eye and then the cut to the Tyrell corporation’s ziggurat/pyramid shape. Immediately we are presented with Egyptian symbology, as well as the notions of the so-called “Illuminati.” The all-seeing eye is flashed in between images of the exalted pyramid in order to initiate the viewer into who is running things. This is the connection of imagery and meaning that most are not able to make.
We are given hints as well that perhaps this is an ancient technology of dominance – the “technology of the gods.” In reality, the technology of the gods meme refers to the elite perspective of themselves and their “magickal” worldview: Any sufficiently advanced technology is indistinguishable from magic, as Arthur C. Clarke’s third law says. The “god” is the one who controls the genetic engineering and artificial intelligence. The cap of the pyramid is empty because the head of the system is secret. It’s a shadow corporate government, where the eye floats above the pyramid itself. The eye is thus above and transcends the externalization of the hierarchy on earth.
Original DARPA “TIA” logo, echoing the Tyrell Corporation.
When the viewer approaches the pyramid in the open scene, it is engulfed in golden sunlight, conjuring up notions of Ra and Egypt. The mysteries of Egypt center around the godlike philosopher king (Pharoah), as the material manifestation of Atum Ra, mirroring the spiritual hierarchy on the spiritual plane. In this dystopian future, the Egyptian scheme is replaced by a corporate system. The light is enlightening the viewer, taking him along for the ride in the flying car to the top of the pyramid. In other words, for those that can see, you are about to see what they see. Read more of this post
The Global Village
May 14, 2012 Leave a comment
G.I. Joe “Resolute” – VLF Weather Modification
April 22, 2012 Leave a comment
The Semiotics of Bond: Ian Fleming’s Use of Propaganda
April 20, 2012 1 Comment
The iconic Connery in Dr. No.
I’m posting the introduction to my master’s thesis, for anyone interested. Comments and criticisms welcomed.
007 AS THE EMBODIMENT OF THE ANGLO-ESTABLISHMENT’S MYSTICAL IMPERIALISM
By: Jay
Ian Fleming’s James Bond is one of the most recognizable and successful characters in modern popular culture. The novels have sold over 100 million copies, and the film franchise is the second most successful in history, having been recently displaced by the Harry Potter series. For most readers and viewers, 007 is merely a Western pop icon. However, there is much more at work in the novels and films than appears on the surface. In fact, there are deeper undercurrents, themes, symbols, and messages that operate as psychological warfare propaganda and an in-depth semiotic analysis of the novels and films yields an interpretation that confirms this thesis. Much has been written on the subject of Ian Fleming’s James Bond. From Umberto Eco’s older essay “Narrative Structures in Fleming” to Christoph Linders’ modern collections The James Bond Phenomenon and Revisioning 007: James Bond and Casino Royale, there is a wealth of critical work on capitalist/consumerist, imperialist, gender, and racial analyses in the books and films. In this wealth of criticism, key elements have been ignored that will here be explored.
The James Bond Phenomenon: A Critical Reader features Tony Bennett and Janet Woolacott’s article “The Moments of Bond,” which chronicles the rise of the franchise in terms of marketing and sales as well as the zeitgeist of Western Imperial capitalism and the sixties sexual revolution that propelled Bond to international fame. Michael Denning’s “Licensed to Look” analyzes the consumerism that fueled Fleming and Bond and the mythical qualities Bond embodies that form a potent combination with the espionage genre. Denning focuses on “eye” imagery and its utilization by film media as a particularly potent manipulative semiotic device.[1] Linder offers an overview of criminology and the “global conspiracy” evolution the franchise exemplifies concurrent with the socio-political threats of the respective decades of Bond releases. Particular attention is given to the Cold War and Bond “saving Britain’s image.”[2]
Cultural impact studies have been done with James Chapman’s License to Thrill and Edward Comentale’s Ian Fleming and James Bond: The Cultural Politics of 007. Chapman gives an analysis of different elements and themes in choice Bond installments, including the literary setting (detective novels) for Fleming’s early stories, the fact that Bond was first published in Playboy, comparisons of the early films with Alfred Hitchcock’s works, and the oft-repeated attempt to resurrect British Imperialism. Chapman moves on to consider the reason for the franchise’s success, making no definitive statement about whether “Bondmania” is the result of the zeitgeist or the development and advancement of the film industry, or both. “Bondmania” was well in place by 1964, and from there, Bond would dominate the sixties and make his way to American theaters, ultimately to become an international icon. Chapman continues with analysis of the propaganda for imperialism and of Bond as the preeminent Cold Warrior. Attention is largely given to Bond in comparison with other action films and heroes, but little attention is given to the deeper, mythical elements. Read more of this post
Regina Dugan: Ted Talk and Mapping with Light
April 4, 2012 Leave a comment
Former DARPA director now with Google. (Photo: Wired Magazine)
Secrets of Prometheus Revealed
March 31, 2012 1 Comment
Big Trouble in Little China (1986) – Esoteric Analysis
March 25, 2012 1 Comment
"Have ya paid yer dues?"
"Yeah, the check's in the mail!"
By: Jay
Big Trouble in Little China is another one of those goofy 80s films that you’re presently assuring yourself has no deeper relevance. You’re smugly saying, “Oh come on Jay, seriously? Another 80s esoteric analysis of something completely silly, like BTILC?” Well, dear reader, let me assure you of your error, and further promise to deliver juicy esoteric tidbits to sate your hunger as you journey on. Consider the opening scene that Fox mandated be added (where Egg Shen recounts the adventures of Jack Burton). The actor is Jerry Hardin who played “Deep Throat” early on in the X-Files. Interestingly, the ambiguous government agent played here is similar to Deep Throat. What is also interesting is the obelisk on the desk behind him, initiating the viewer into what will be an occult journey.
Egg Shen reveals that the tale ahead will be one of Chinese “sorcery and black magic.” As proof, Egg Shen offers typical 80s blue lightning, of the Force variety. According to IMDB, the Chinese script in the beginning title sequence reads, “Evil spirits make a big scene in little spiritual state,” meaning the film will feature the primeval ancient religious tradition of the higher aeons or gods incarnating themselves in lower, visible, solid forms. This is almost universal in ancient cultures, from Greece and Rome, to China, and lends credence to the view that polytheism and monotheism come from a single religious tradition, as described in Genesis 1-12.
Note also that Egg Shen conceives of the usage of good and evil magic by both sides. Magic, in this view, may be used by the dark side and the light side, in what the dualistic scheme of most world religions views as the ultimate template for all reality. Eastern religions in particular have this dualistic focus, with the binary opposition never being transcended in this life, apart from “enlightenment” that results in some kind of dissolution or absolving into “pure being,” “thusness” or “nirvana,” or some state of being beyond the present world, which is often identified as “evil” and the domain of the fallen spirits and demons. The problem with this type of worldview is that it is self-defeating and contradictory. It claims to seek transcendence of the material and of all binary opposition, but its answer is to seek it in absolute impersonality. Since particularity and form in this world are the sources of “evil,” all particulars must dissolve. The result is monism and collectivism, and the history of eastern cultures demonstrates this enslavement clearly. Read more of this post
HAIL COBRA!!!!
March 18, 2012 Leave a comment
Skynet is Real: Alchemists, Exemplarism and Techgnosis (Update)
March 16, 2012 2 Comments
The sphinx which appeared in Wells' Time Machine. The sphinx is the cherub who guards and controls space and time.
By: Jay
UPDATE Below!
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At the end of H.G. Wells’ Outlines of History, he speaks about the “rise of the machines” and their ability to allay the toils of men, granting them more leisure for scientific products, art, and other harmonious progressive pursuits. Education will become universal, and a better world will ensue. Wells was, to be fair, spot on with many of his sci-fi predictions. One can’t but notice that this article confirms his claims from The Time Machine concerning the devolution into “stunted pig-goblin creatures” to quote Alex Jones, likened to the Morlocks, while the elites will become like the Eloi.
However, the rise of the machines has been wilder than even Wells could have imagined, and will probably not be the universal utopia Outlines imagines, but something closer to the dystopia of The Time Machine. In fact, we have reached the point where A.I. is nearing the ability of what we see in many science fiction films and novels, yet I agree with the affirmation of Douglas Hofstadter in Godel, Escher, Bach that we will not achieve self-awareness. Even if this did occur, there is no certain test to determine the existence of “self-awareness,” and the modern scientists who argue to no end against the soul or mind must also take their dogma of the inability to “prove consciousness” and apply it to the golem. On their basis, you could no more prove one than the other. So the reductionists who think consciousness is merely matter have no problem identifying humans as “more complex” computers (like Daniel Dennett). Nevermind that they are all guilty of the naturalistic fallacy.
In effect, this is a Prometheus situation, and is precisely the goal the occultists, alchemists and “scientists” have sought for millennia. Don’t be fooled by the propaganda of the “new atheists” and sciencey labcoaters: the real secret is that the mysteries are real. Granted, many of the “Illuminists” are of an atheistic and rationalist bent (and the actual Illuminati were Enlightenment rationalists), but there is a definite esotericism behind the creation of the golem. Atheism itself can become a form superstition, as I’ve written many times on this blog. I want to make clear, though, that I’m not anti-technology, nor am I saying I disagree with these goals. Clearly the Enlightenment thinkers were right–in fact, some of them are central to the mathematics behind all this, as well as to religion and metaphysics and esoterism, such as Leibniz. Newton, too, was an esotericist, and other examples can be given such as Nikola Tesla and Wolfgang Pauli. Read more of this post
