Captain America 2: Winter Soldier is Real

Film poster.  The film was released on 4-4-14.

Film poster. The film was released on 4-4-14.


By: Jay

The new Captain America film is heavily laced with either revelation of the method programming, or genuine artistic rebellion against the corrupt, globalist establishment.  The plot is one of the most anti-new world order films I’ve seen, in terms of plot.  Granted, Marvel is now owned by Disney is 100% establishment, regurgitating decades of Disney mind control, but apparently that doesn’t prevent a positive message to seep out.

Or, from a darker perspective, was the completely revelatory plot of Captain America 2 purposefully released as another middle finger?  Does the intentional selection of  sentimental old Americana (represented by Captain America) perhaps signal the establishment’s statement they know the truth of the opposition’s side better than the opposition, associating anti-establishment impetus with childish comic book plots?  Let us analyze.  The plot begins with a French “terrorist” organization hijacking a high-tech SHIELD warship called “The Lemurian Star.”  Lemuria is associated with Atlantis in the writings of occultists like Blavatsky and Leadbetter, giving us a clue that the key to interpreting the meaning will be the attempt to restore Atlantis.  This false flag attack is designed to frame SHIELD commander, Nick Fury (Samuel L. Jackson), disabling the Avengers and Captain America.

The state-sponsored terror is actually led by Hydra, a kind of World War 2 analogue for the Bilderberg Group.  Hydra, like Bilderberg, was founded by former Nazis seeking to implement a worldwide technocratic government.   Like the actual Bilderberg Group, it has the same goals and motivations, but what was so surprising about Captain America 2 was the revelation of the AI control/kill grid that is Hydra’s real weapon.   The Avengers discover that the AI kill grid is put in place to utilize all the data that the government surveillance has captured over the last several decades using complex algorithms that predict who the likely threats will be in the future.

Thumbs up to Natasha Romanov

Thumbs up to Natasha Romanov

Predictive algorithmic AI computing is precisely the purpose of the Internet itself, as well as Google and all the other tech monstrosities.  The purpose of the Internet itself was always to gather reconnaissance on the masses.  The AI grid stores basically everything, and based on the vast information stored at the “data vaults” and warehouses around the globe, information is processed for future predictive accuracy.  There is a virtual version of everything happening, with a virtual version of you and me, where tests are run to see the outcome of various scenarios.  The reconnaissance is for the ultimate goal of the AI takeover.  Films like the Terminator series and Oblivion also have this same plot, but rather than art life imitating art, this is art based on actual Pentagon programs.  And just like Skynet is real, so is the Avengers’ version of Skynet, where advanced decapitation and space-based weapons (for removing heads of state) are in place since at least the Star Wars Defense initiative of the late 70s. Continue reading

Noah (2014) – Esoteric Analysis

Noah film poster.

Noah film poster.

By: Jay

Darren Aronofsky’s Noah has become the talk of the Internet and religious folk.  As a film, I found it flawed and a little odd in its pacing, but on a deeper level, there is plenty to mine.  Most analyses that focus on the deeper elements come from the evangelical right, up in arms about the “lack of biblical” elements, and some even saying it is blasphemous and “gnostic.”  Readers of Jay’s Analysis know I have no hesitation in slapping the gnostic label on Hollywood’s latest, yet here I am not so eager.   It’s not that the film has no gnostic elements – there are some.  It’s that the film is utilizing kabbalistic  and Jewish oral tradition, which I think is the source for much of the confusion.

Aronofsky did make Pi, which is also based around kabbalistic ideas, particularly numerology and its relation to God.  I am very interested in numerology and how it relates to God, yet on a personal level I just didn’t connect with Pi.  It’s not a bad film, I just found it depressing.  The relevance here is that Pi shows Aronofsky is very much a man of Jewish mysticism and esoterism, despite his claim to be an atheist.   So, more than containing a lot of “gnosticism,” Noah contains a lot of kabbalism, as well as ideas from the Bible, the Book of Enoch, and Jewish midrash.  I don’t pretend to be an expert in these areas, but I have far more familiarity than most.

Overall, I liked the film.  There is nothing wrong with looking beyond there mere text to the oral tradition and the wider context that surrounds the classical biblical narratives.  Evangelicals that were thrown into a frenzy are generally unaware that the “environmental” message was, in fact, accurate.  In the biblical narrative, Noah and his sons had not yet begun eating flesh.  Longevity was much greater due to being still relatively close chronologically to the Edenic state.  Granted, the film took liberties with giving Noah a period of doubting where he thinks he may not have done correctly, since it appeared for a time that God wanted all humanity dead.  Noah was a man, not a superhero.  I think it is appropriate, like all the saints of Genesis, he is portrayed as a flawed man.  Like the rest of the prophets, Noah was not perfect.

Continue reading

Introduction to Hidden Metaphysics, Part 1 – Jays Analysis

In Part 1 of this discussion, I introduce metaphysics (the branch of philosophy, not witch books), and explain why it has been suppressed in the West. I argue that a special metaphysics is the basis for highly advanced technologies, while the masses are spoon-fed garbage relativism.

See these articles for referece:

“Aether Returns to Oust Dark Matter”

“Unified Field Theory”

“Energetic Aether Metaphysics”

“Numbers Prove God”

Dune (1965) Novel – Esoteric Analysis

Lynch film poster.

Lynch film poster.

By: Jay

Dune is an amazing novel: There is a reason it’s the best-selling science fiction series of all time.  Prescient for his time (1965), author Frank Herbert was able to foresee a future in which geo-engineering, rampant technocracy, geo-political intrigue and subterfuge, ecology, elite bloodlines, the occult and religious perennialism all coalesce into a story of unparalleled scope and imagination.  In that regard, it functions as both a fictional account of a far distant galactic future, as well as a predictive presentation of today’s headlines and scientific advancements.  Truly there is no novel to liken it to, especially in the genre of science fiction, relative to its time.  While any top ten sci-fi novels will undoubtedly include Dune among its ranks, I argue it is utterly unique in its inclusion of themes and characters that run completely contrary to Asimov or Orwell.

Most science fiction envisions a future of advanced technocratic control where religion has all but been abolished or taken on odd, irrelevant forms.  Not so here: For Hebert, religion takes a central role in the novel.  As for technocracy, the novel is decidedly in opposition.  We do see humans engaged in the usual court intrigues and conspiratorial machinations that echo Machiavelli’s Discourses and in particular, “Of Conspiracy.”  Yet with Dune, we do not see a utopianism predicated on technological advance and subjugation, but rather a future in which the good guys are those in harmony with nature, seeking to be a symbiotic organism in the larger cycle of ecological and cosmic forces.   Indeed, it is the Padishah Emperor Shaddam IV, working with the CHOAM trading guild and the Bene Gesserit bloodline coven of witches that seek to subjugate Arrakis (Dune), the desert planet of unmanageable wasteland home to the spice mélange, the consciousness-expanding drug that has a hold on the entire known universe.

Continue reading

Prajāpati-Purusa and Vedic Altar Construction

Vedic Altar

Vedic Altar

[Did you know the rites of the gods encode the secrets of mathematics and nature?  Did you know Newton believed this, too? I'd like to thank James Kelley for offering this amazing piece as a guest post. -Jay]

By: James L. Kelley

Though it is well known that the word “Purusa” denotes “the man” in Sanskrit,1 one Indologist pointed out that Purusa also means “[t]he original eternal man, the Supreme Being, and soul of the universe.”2 Despite the potential ethereality of the latter shade of meaning, a scan of Purusa passages in the Rgveda assures our firm grounding in both the cosmic and the concrete, for the Vedic texts reveal Purusa to be “a mortal individual rather than an essence or subtle being…”.3 The Rgveda, which many believe to be the world’s oldest scripture,4 contains further passages that reflect the more esoteric teachings about Purusa—the Cosmic Man—whose story offers unique insights into the origin and destiny of humanity.5

Now that the significance of Purusa as the Cosmic Man in Vedic literature has been indicated, we can now begin our study of Vedic anthropology by considering the work of Dr. Abraham Seidenberg (1916-1988), a man who had much to say about Purusa and about sacred mensuration.

Figure 1.  Abraham Seidenberg.1

Figure 1. Abraham Seidenberg.1

 Seidenberg: A Life in Numbers

Abraham Seidenberg was born on the 2nd of June, 1916, in Washington, D.C.  After graduating from the University of Maryland in 1937, he went on to get a doctorate in mathematics from Johns Hopkins University in 1943.  He taught at the University of California, Berkeley from 1945 until his retirement in 1987.  At various points throughout his career, Seidenberg held visiting professorships at institutions such as Harvard University and the University of Milan.  It was during a stint at the latter school that Abraham Seidenberg died.  The date was May 3, 1988.7 Seidenberg maintained a dual scholarly focus throughout his career. We will not elaborate on his substantial contributions to algebraic theory, choosing rather to zero in on the great mathematician’s work on the history of mathematics. Continue reading

Atheism and Total Vindication

The "new" atheists: rehashing bad arguments against bad apologetics.

The “new” atheists: rehashing old, bad arguments against other bad arguments.

By: Jay

In over eight years of higher education, a thread I was able to see emerging was the “new atheist”/atheist trend.  Part of the reason for that was embarking on a philosophy degree at a state university, so that kind of mindset was to be expected.  In the last week, atheism has come up in several discussions and I think warrants another analysis.  To most people, movements and ideologies are fluid, arising organically, based on whoever has the best argument and presentation.  Academia is a neutral entity, fostering genuine dialogue between competing ideas, and over time, the best ideas prevail, and the older ideas fade into the dustbin of history. Public education and higher academia thus facilitates the development of the individual into a mature, rational thinking citizen able to offer informed opinions on all matters scientific, religious and political.  The system-indoctrinated atheist rationalist becomes the ubermensch in his mind, able to critique, build, fix and destroy all reality at his own whim.  All his thoughts and opinions are de facto genius, simply by virtue of having been through the system and mastering its version of some singular field like biology.

Interactions with any of the unenlightened that still believe in childish notions like God, angels and devils requires a pseudo-psychological characterization of the theist as trapped in some form of neurosis or pathological problem. On the contrary – none of this is true or accurate. In reality, atheism is irrational and utterly philosophical nonsense.  The atheist position is one of unenlightened closed mindedness to the extent that any propositions that don’t fit into the materialist presuppositions are considered rank heresy.   In fact, the more one watches the modus operandi of the so-called new atheists and the “Skeptic Magazine” crowd like Shermer, the more evident it is that their enlightened skepticism operates like a systematic orthodoxy, replete with its saints (mischaracterized views of Galileo, Newton, Darwin, etc.), dogmas like Darwinism(s), modern prophets and evangelists like Dennett and Dawkins, and a a communal “spirit” they all possess of bad hygiene, crappy beards, and faggy fedoras.

When Nietzsche mocked the “pale atheist” evangelists of his day, he was once again prophetic.  At least their Enlightenment forebears and philosophes had some culture and were interesting.  These creatures are cloned in the pseudo-educational academic factory. But lest I be accused of the ad hominem attacks they so often level my way, I thought it would be useful to offer up several of their own modern myths to be slain on the altar of truth with the ritual athame of my keyboard.  After a brief analysis of those myths, I would like to offer a few vindications of my own analyses that have proven correct, demonstrating that for all the ad hominem attacks, none of their petty tricks and sophistry can stop what is actually and objectively true.  Normally these kinds of responses aren’t worth doing, but a few run ins of late with several self-titled, enlightened “atheists” has sparked my sick enjoyment of debate and disarming of opponents.

Continue reading

Numbers Prove God

The Divine is the highest of Infinities.

The Divine is the highest of Infinities.

By: Jay

When considering the question of “proofs” for the existence of God, the history of argumentation has often been lacking.  The dialectical relationship of the empirical/materialist tradition debating with the idealist/Platonic tradition is a perennial feature of the history of western philosophy.  Modern “New Atheists,” for example, are eager to pounce on flaws in the so-called “classical proofs,” as if these were the b-all, end-all of the question of rational certainty for the divine.

The chief problems with the “classical proofs” are that: 1) They do not prove what they set out to prove insofar as they are (classically) based on an empirical theological method that stems primarily from Aquinas, 2) The arguments themselves are non sequitur, where the starting points of the proofs do not logically necessitate the conclusions, and 3) The philosophical and theological assumptions implicit in the arguments are not consistent with the theological beliefs about God in the biblical system.  These three majors flaws have led to centuries of debates that were often fruitless and have allowed overly confident pseudo-philosophers and “scientists” to presume that these matters are bound up with medieval superstitions that were heroically suppressed and refuted by the rationalists of the Enlightenment era.

Ironically, this narrative itself is a modern mythos presented by the “New Atheists” and the average run-of-the-mill academicians.  The modern materialist apologists are themselves buried in a faux dialectic that ignores, suppresses and misses the real issues at hand.   It should also be remembered that ancient and medieval thinkers had not asked questions that would later be raised, and in particular, I’m thinking of more foundational philosophical questions that never entered the mind of the medieval man.  Areas of philosophy and physics that developed in the modern world, like subatomic research, phenomenology and linguistic and semiotic research were not within their purview (obviously).

With such being the case, we can assess that the classical proofs are not necessarily terrible, but flawed due to the fact that they were posited with certain presuppositions.  But what happens when, over time, philosophy and science (and theology) questions those assumptions, and asks how do we make sense of these principles themselves.   For example, all medieval thinkers utilized Ancient Greek principles of logic and geometry.   Numbers, logic, and geometric forms were assumed to be the case: It never entered Roger Bacon’s or Photios of Constantinople’s mind to ask, “How is it possible for logic and numbers to be.”

In other words, the medieval mind didn’t consider things from a meta perspective.  There is logic, but what about metalogic?  Logic functions, but is there a higher level logic to logic?  What are the necessary conditions for the possibility of logic to be at all?  One could probably trace out a deeper connection between the artistic forms that were created in different periods and the development of 3d perspectivalism on a 2d surface, compared with the philosophical and scientific questions that began to be asked in that period.  Were the developments in optics and the study of light influential on the Renaissance portrayal of 3d perspectives?  I’m sure they were.   However, it had not entered the mind of medieval man to think in meta or transcendental categories.

It is true that ancient and medieval man posited transcendental arguments: Aristotle presents one for the law of non-contradiction, as well as filling out a more specific consideration of the different categories, which do match up in certain ways to Kant’s categories, so it’s not correct to say the medievals had no idea of what a “transcendental” was, or what a transcendental kind of argument was.   It is correct to say they did not consider the various sciences and arts from the perspective of how they are possible – what the necessary conditions for the possibility of those things to be were.  When the secular scientistic revolution occurred asking a lot of these questions, western Theism marched confidently along professing the same old, tired arguments that were unprepared to meet the level of questioning the revolutionaries were asking.  Western theology was ill-equipped due to its own assumptions about God’s existence being strictly the same as His essence, Actus Purus, an absolutely simple monad, with all human predicates equalling the divine ousia itself.

Given those kinds of theological presuppositions, it was impossible to meet the onslaught of Humes and philosophes that were merely forcing the western theological assumptions to be consistent.  If God is an absolutely simple First Cause, and this (and the other “proofs”) is the extent of the “rational” evidence for His existence, then it doesn’t follow from that premise that the God presented in the Bible is that Deity.  Perhaps the First Cause is the impersonal Being of Greek thought.  Perhaps the First Cause is the theism presented in Mohammedanism.  Perhaps it is an unknown First Cause of the Enlightenment deists.  It should be evident that this argumentation as presented is useless (and actually harmful) to anyone who professes the Bible in whatever capacity, since these views are not the Biblical view, especially since Thomists, Muslims, Deists and Greek philosophers have all used this  bad argumentation. Continue reading

Vertigo (1958) – Esoteric Analysis

Film Poster. Note the spiraled vesica piscis atop the pillar.

Film Poster. Note the spiraled vesica piscis atop the pillar.

By: Jay

Vertigo is the best place to start a Hitchcock analysis.  While many themes repeat in his films, Vertigo is most memorable for its psychological depth and mystique.  Containing some of the most famous scenes in the history of cinema, Vertigo is also the “master of suspense’s” deeper message about the psychological manipulation that can occur in our own lives, in society, and amongst the elite.  My thesis is that Vertigo is not just a film about an average guy that is caught up in a spiral of madness (a common theme in Hitchcock), but also an insight into the control and manipulation we see from those who are our masters.  Not only does Vertigo present an elite shipping magnate that manipulates Scottie (Jimmy Stewart, protagonist), it demonstrates the lengths to which these powers are interested in, to use the words of the Collins brothers, “managing the beyond.”  Vertigo is therefore a film about the manipulation of beliefs.

Initially the audience is shown a series of eyes, probably of Kim Novak, with spirals emerging.  The spiral has the significance here of alerting the viewer that we are trapped.  The swirling spiral of madness will grip us, causing us to dissociate, losing our sense of self and identity.  Losing one’s balance, or falling, is thus a metaphor for the loss of place and identity: this will be the crucial point in Vertigo.  How far can the manipulation of the psyche go to create and induce the loss of identity?  In  the opening scene we see a flashback to Scottie, a traumatized former police detective who was involved in the death of a fellow officer.  While not intentional, Scottie was stuck on a ledge following a chase, which resulted in another officer falling to his death.  Scottie emerged from the scene with vertigo, and only after a few years has he begun to make progress toward recovery.  It is worth noting that for Scottie, the causes of his further descent into his downward spiral of obsession, mania and dissociation revolve around trauma.

Scottie spends his days with the homely “Midge,” waiting for something interesting to happen in his life, eschewing marriage.  Midge is sexually frustrated, annoyed that Scottie has no sexual interest in her (or in anyone apparently).  Upon receiving a special invitation to see his old war buddy Elster, Scottie reluctantly decides he must go, ignoring the innuendos of Midge.  Meeting at a disguised location, Elster explains that he married into great wealth, particularly a family involved in the shipping business.  Elster tells the fantastic tale that his wife Madeleine is possessed by a ghost – a dead woman named Carlotta Valdes.  Scottie is incredulous but finally caves and agrees to Elster’s request that he follow Madeleine.  Elster says Madeleine dissociates and drives to the Golden Gate Bridge and stares at the “pillars – portals to the past.”  This will be significant later, especially as twin pillars are constantly seen throughout the film.

The spiral associated with the eye and entering the psyche.

The spiral associated with the eye and entering the psyche.

Scottie spots Madeleine at a club called Ernie’s and follows her to a florist, where Scottie begins to develop a fascination for voyeurism.  Interestingly, he spies on her in the shop through a mirror which is a classic  symbol of the psyche and its double.  Scottie begins to fall in love with Madeleine, which only sucks him deeper and deeper into the spiral of insanity that awaits.  The reference to wealthy shipping magnates and British power calls to mind the research of Fritz Springmeier, who is generally accurate in his claims.  According to Springmeier, we can assume that the mention of connections to elite merchant and sea power is not accidental.  He writes in regard to Hitchcock, the Onassis shipping magnates and Grace Kelley:

Elster, the elite British shipping magnate.

Elster, the elite British shipping magnate.

“Grace had many affairs including one with Bing Crosby.  Grace Kelly worked for MGM. Alfred Hitchcock was the one who is credited with seeing a superstar in Grace. Alfred Hitchcock came from a British generational occult family, and was a dark genius who produced many exceptional films.  Grace Kelly acted for three of Alfred Hitchcock’s movies. Dial “M” for Murder was the first. Later, Hitchcock visited Grace and Prince Rainer at their Paris  home, and Grace made a rare public appearance in Apr. ’74 with Hitchcock in New York. Hitchcock’s life has been described by someone who knew him as “an enigma within an enigma.” Hitchcock was very secretive about his own life and   his parents. We do know that he was instructed by the Jesuits at St. Ignatius College which he left in 1913. He had an extreme fascination for sadomasochism, which can be seen in his movies such as Frenzy. Continue reading

JaysAnalysis – James Kelley Returns “The Zombie Mass”

Author and historian James Kelley returns to JaysAnalysis to discuss his groundbreaking research on the history of the Frankish empire and its relationship to various developments in western theology and esotericism.  James posits a specific, revolutionary theory about unique Latin developments as well as the famed “zombie mass” of the Middle Ages, leading up to the modern global “new world order” political alignments we see today.  A fascinating, well-researched analysis you don’t want to miss!

James’ blog and articles on the Frankish Civilization and the Zombie Mass can be found here.

Download the mp3 here

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James Kelley is the author of Anatomyzing Divinity and Doxaphysics.

The Mystery of the Serpentine Mirror

"Mirror, mirror, on the wall, who's the mind-god of them all? Me!"

“Mirror, mirror, on the wall, who’s the mind-god of them all? Me!”

  γνῶθι σεαυτόν

By: Jay

Certain snotty critics in a forum posted a criticism of my Thomism article, where I looked at the flaws in Thomism that led to, I believe, to Enlightenment scientism.  That’s a good segue into the next topic I’d like to expand upon, integrating the recent articles and interviews I’ve done on the mystical, magic mirror theme.  On top of that, to make it even crazier (as opposed to attempting to placate the small-minded critics with some rationalized defense), I’m going to tack on the subject of the ancient mystery of the serpent, since I see a connection between the mirror and the serpent.  How that might be is a question of the psyche and its relation to the objective world resulting from an examination of biblical, mystical, mythological and psychological notions.  I propose that in order to understand the nature of man’s psyche, the objective world and spacetime, rather than the modern approach of mere linguistic expression, symbology should be sought as the primary means of conveying the truth.

Granted, words are symbols, but there is much more that can be contained in certain forms, especially forms such as Platonic solids, or the Monad, dyad, triad, etc., as opposed to just “words.” Could deep truths about metaphysics, meaning and space-time actually be encapsulated in the basic forms of geometry?  I think so, and in this article I am going to set out to make that argument.  It recently occurred to me that given man’s predilection for relativism, it might be possible that relativism was actually one of the epistemological effects of the Fall.  Falling from objective Truth (God) and accepting the (supposed) autonomous epistemic authority of his own desired perceptions, man chose to become his own god, but rather than achieving what he sought, his mind has become a prison for his own delusions, illusions and vanity.  As a result, man is trapped in a cyclical prison that I’m going to call the “mystery of the serpentine mirror.”

The mirror here will be man’s self-perception, embodied in the being he perceives himself to be, with his accepted and desired beliefs about his origin, meaning (or lack thereof) and destination.  I recall Bahnsen proposing in his PhD thesis on self-deception that there is an interesting distinction between being deceived, and believing “I am not deceived.” The first involves outright deception from one person to another, while the second involves the psyche actually choosing to believe a proposition about the self that is raised to a higher level, if you will.  Whereas in the first, I might be told by a suspect, “I did not steal your fanny pack and kilt,” and in the second example, I choose to believe “That cool ass dude is my bro – he would never steal my fanny pack and kilt,” even though all the evidence points to the latter, as I later see my buddy dancing in a kilt with a fanny pack.  In the first case, I didn’t know, and in the second, my desires influenced my choice to believe the erroneous proposition.  Thus, Bahnsen posited, this is how self-deception works in the human psyche.

Note the circular imagery in Canova's statue of Eros/Cupid and Psyche.  They draw each other in cyclical embrace, eternally.

Note the circular imagery in Canova’s statue of Eros/Cupid and Psyche. They draw each other in cyclical embrace, eternally.

That is applicable here. In the classical symbology, the psyche is drawn as a circle, sometimes with a dot in the middle, signifying  the individual.  The dot is the Monad, or the point of self-consciousness of the individual.  It is also the universe as a whole, as well as the sun symbol, and the beginning form of the Egyptian, Pythagorean and Platonic mysteries as the basic architecture of reality (the Platonic solids).  The psyche is also a feminine symbol, though the monad that emerges with a third dimensional extension is masculine (being a phallus).  Eros or Cupid here represents the desire of the psyche.  Desire is what moves us towards an end, and for the man deceived into the mind-prison of relativism, it is as if a mirror has been placed in front of his psyche which reflects to him a false image of what he is.  In the mirror of the serpent, the image is a reflected image of an individual deluded into thinking he is God.  In individuals who are full psychopaths, this has reached full actualization insofar as they have completely convinced themselves they are god.  Thus, serial killers often exemplify this well-known trait. Continue reading