The Philosopher’s Stone (Gold) Versus Quantitative Easing

January 6, 2013 2 Comments

Solve et Coagula

Solve et Coagula

“And the gold of that land is good: there is bdellium and the onyx stone.” Genesis 2:12

By: Jay

In recent months we’ve seen the international banking establishment make moves to hedge their bets against the smaller economies, with the intent of wiping up the last vestiges of so-called “sovereignty,” aiming at an eventual world basket currency, the SDR, and the patterned central baking model of a planned economy one sees in most of the world, replete with fiat currency and printing.  Some nations, like China and Russia, would like to hedge their bets against the Anglo establishment by obtaining enough gold to perhaps have a rival to the secretly stashed gold the Anglo establishment likes.  In fact, Alan Greenspan spoke to the CFR in 2010 about this very truth concerning the permanent validity of gold:

“I’m increasingly of the opinion that what is happening here is that there is a connection that is increasingly credible between the issue of the amount of government stimulus — and more, very explicitly, the size of the current deficit that exists, not over the long run, but just concurrently — and, indeed, I’d say between that and the level of capital investment in this country.”

And,

“Gold for reasons we don’t fully understand is still the ultimate means of payment.  And five monies have no place to go because five — exchange rates of five currencies are a zero sum game.  So if you begin to get an undermining of five currency values, you get the whole — the whole structure go down.  But the relationship between the dollar and the euro can stable, and the Yen and the Swiss franc can stabilize.

But they could all go down simultaneously.  And the question is relative to what?  And I think that what we are seeing is this extraordinary rise in the price of gold.

Because gold — I’ve been trying to understand why gold has the fascination it has for generations.  And I’ve come to the conclusion since — for example, in 1944, Germany could not import anything except with gold.  And when we landed in North Africa during World War II, in order to bribe the various potentates around, we needed — only gold would do it.

In other words, it’s the only means of payment which is accepted without endorsing it.  The question is why human beings are so attracted to that, I’ve struggled with for years.  I don’t understand it.  I’ve now accepted the fact that we do.  (Laughter.)  And once we — once you do that, then the question is, it’s the ultimate means of payment.  And it is a signal that there is a problem with respect to currency markets globally.  I don’t think it’s a serious problem unless you short gold.  But it strikes me that it’s the canary in the coal mine to keep an eye on.” Read more of this post

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Light and the Feel of Numbers

December 4, 2012 7 Comments

Art by Michael Whelan

Art by Michael Whelan

By: Jay

I once watched a show on a young girl named January who was a schizophrenic. Childhood schizophrenia is not a common mental disorder, but what fascinated me in this particular case was the fascination January had with numbers. In fact, she even “felt” numbers and had a certain emotional relationship to them. What immediately struck me was the insight in the midst of this dark situation that January gave: what if, aside from her real mental problems, January was actually on to something—something that her parents and counselors had never considered. What if January was right, and that numbers do have a “feel”?

I once interviewed a recognized mathematical genius who explained that when he was younger, math was difficult because he was more interested in the look of the numbers (as symbolic representations), than in the actual conceptual manipulations of the integers. In both of these examples we have a different perspective on something very common: the look and feel of a number. Similar statements are also made by those who experience altered states of consciousness on drugs, particularly hallucinogens. In those cases, the senses are often mixed up, and so numbers might be mistakenly thought to have a “taste.” While these three cases are not “proofs” per se, they do point in the direction of something I’ve intuited for a few years now.

In the modern Western world nothing is more divorced from one another than the supposed domain of numbers, reason, and logic, set over against the supposed independent domain of feeling, intuition and aesthetic creativity. In another sense, we have right brain versus left brain. The degeneration and collapse of the West is, as I have argued many times, intimately tied to the division of the sciences into specialized, discreet unrelated “fields,” resulting in a compartmentalization of knowledge.

This compartmentalization actually has a tremendous effect of stunting any real progress, leading to a bunch of incompetent drones who (in their minds) master “biology” or “physics” with a ridiculously myopic, stunted, and philosophically nonsensical, contradictory worldview. The average “science” major walks away with his government certificate certifying sound and fury signifying nothing: this “graduate” could no more think his way out of a paper bag than he could give a coherent explanation of the supposed subjects he has “mastered” by repeating socially engineered textbooks by rote. Those who study other exceedingly worthless fields like “sociology” are even more foolish. Read more of this post

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Modern Science Saw Cherubim and the World Fell

December 2, 2012 10 Comments

Jewish depiction of Cherubim

Jewish depiction of Cherubim

By: Jay

As we continue to survey the modern world, recognizing the bombardment of lies and propaganda formerly mentioned, we look also at the confusion and warfare in the realm of gender. This is of crucial import due to the fact that it’s so often missed by those in the anti-revolutionary, anti-modern circles and niches. These crusaders and “trads” are generally the worst off, inasmuch as they assume that any adjustment made to modernity constitutes compromise, apostasy, or some other such heretical term marshaled out and slapped on keyboards with the authority of a medieval cleric in a Latin High Mass. Most often these dreamers exist in a world of theory and fantasia — I know because I was one for over a decade. In fact, it is often these types who are the only interesting people left in society, as the nihilistic, self-abnegating spirit of modernity sucks in the masses to their own doom.

The problem with these circles and niches is not ideology as ideology. Many who leave the ranks of whatever religious fringe circle or traditionalist niche do so as a result of more of an existential angst-dilemma relating to the inability to keep the strictures of the sect or religion’s guidelines. Whether Haredi Jew or Society of Saint Pius X, stories of the patterns of religious anxiety demonstrate commonalities. This is not to say that all of these religions and groups are all true or all false. This is also not to say that it doesn’t matter what religion you choose. Rather, this is more of a psychological analysis of the patterns of praxis resulting from certain worldviews, and what said groups mean in the present state of the world historical.

For these groups, the modus operandi is that of the “old world,” where reality is still structured on the pattern of some form of ancient/medieval hierarchicalism, metaphysically. Whether a gradation of being, or a celestial hierarchy, this worldview will most starkly contrast precisely in the question of metaphysics and ethics. The track of Western Enlightenment rationalism gained the upper hand by tossing out objectivity, essentialism, and telos. In its place, pragmatic psychologism and empiricism came to dominate, and then collapsed into nihilism. Modernity therefore became the inheritor of the worst of the failed philosophies of this era, leading to science basically operating and working, yet denying all the things it sought to prove. Read more of this post

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Blade Runner: Indepth Esoteric Analysis

May 15, 2012 5 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

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Quantum of Solace – 007′s Alchemy

July 20, 2011 8 Comments

Animus and anima in "harmony"

Animus and anima in “harmony”

“Everything I write has precedent in truth.” -Ian Flemming

By: Jay

Upon first viewing, I was not initially impressed with Quantum of Solace.  I took it as a mediocre Bond film with scant hints of deeper meanings and clues.  Recently, I watched it again and it changed my mind.  Not only is it chock full of subtle hints and clues, it actually appears to display a kind of alchemical process.  While that might sound far-fetched, allow me to prove my thesis. First, take into account the fact that Ian Flemming would very much have been enamored with just such an idea, given the occultic-secret milieu he inhabited.  In fact, Flemming had direct associations with Aleister Crowley, and based some of his characters such as LeChiffre on him.  Times Online writer Ben Macintyre explains in his review of a Flemming biography:

“Fleming’s villains, like his heroes, are patchworks of different people, names  and traits. Le Chiffre, the Benzedrine-sniffing villain of Casino Royale,  is believed to be based on Aleister Crowley, who gained notoriety in  inter-war Britain as “the Wickedest Man in the World”. Crowley was a  bisexual, sado-masochistic drug addict. A master of Thelemic mysticism (“Do  what thou wilt shall be the whole of the Law”), he specialised in  mountaineering, interpreting the Ouija board, orgies and thrashing his  lovers. The press simultaneously adored and hated him. Crowley made Le  Chiffre seem positively sane.”

Crowley also was an asset for a time for British intelligence.  Thus we see that alchemy coming into play shouldn’t seem strange.  In fact, the original 007, Dr. John Dee, was Queen Elizabth’s “seer” and was himself an alchemist.  As Flemming is known to have said: “Everything I write has precedent in truth.”  As with all Bond films, there is the famous artsy intro, and often they too are a clue to the kind of esoterism we can expect to see in the film.  This one begins with sand and silhouettes, ending with an eye and a “swastika” formation.  While you might be incredulous at first, hang with me, as swastikas pop up several times in this film, and for a reason.  Towards the end we see the leggy swastika morph into an eye (which will be relevant later on).

Leggy swastikas!

Both eyes and swastikas are prevalent in this film, as well as alchemy, so let’s analyze.   As with most modern films, Carl Jung’s archetypes and gnostic proclivities come to the fore.  Originally, the swastika symbol dates back to the most ancient cultures such as India and Mesopotamia as a “sun wheel,” of the so-called Bronze Age, with possibly some relevance to solstices and equinoxes.  Carl Jung had a lifelong fascination with the symbol, and gave it some possible association as an archetypal symbol in the collective unconscious.  So we begin with four women at the four cardinal points, which bring to mind the four elements, as well as images of sand or earth:  all of which pertain to alchemy.  Alchemy is the classical and medieval “art” of transformation, and the end goal of the alchemists was the “Great Work,” whereby all things are brought to perfection and harmony (or solace), under the provident gaze of the “all seeing eye.”  The “eye,” brings to mind the perennial symbology of secret societies as well as intelligence agencies and groups, such as MI5/6 and DARPA, who sit atop our panopticon surveillance society. Read more of this post

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Hanna (2011) – Jay’s Film Analysis

April 10, 2011 18 Comments

"Adapt or Die"

 By: Jay

Hanna is an awesome film. As a story and entertainment, it is top notch. However, as the message goes I have some stuff to bitch about (as usual), and this time it’s not really gnosticism. Well, it is a little bit, but not primarily. Hanna is the story of a young girl who is mysteriously unaware of her origins (played by Saoirse Ronan), raised by her father in an utterly secluded cabin in Finland. Her father gives her intelligence agent training, while simultaneously keeping her from all modern luxuries. Hanna is thus a trained hunter and assassin. From the trailer, we see that it will be a take on a fairy tale, and that is what will develop. One of the few things she reads in her cabin, along with the Encyclopedia, is Grimm’s Fairy Tales, which comes up as a subtle sub-theme throughout the narrative.

Initially, she fixates on the Cinderella story, which is a story of mythical transformation—precisely what the film is about. Something like A.I. meets Run Lola Run, Hanna is about the future generation. Since we have descended into a post-post-modern nihilism, all that is left is the return to myth. The Enlightenment scientism has been discovered to be another form of mythology that, while producing interesting artifacts, is unable to quantify and calculate the sum totality of man’s existence into a materialist, pragmatist framework. Thus, what happens in this stage of cultural devolution is that man’s nihilism returns to myth as a larger narrative structure for life. Hanna, as the film makes clear, is the genetically altered future, which the scientific establishment will attempt to control, but which, in fact, cannot be controlled.


Once upon a time….

After a long journey of self-discovery and rugged survivalism, Hanna has interfaced with modernity and found it absurd and empty. Ironically, being raised in a completely sheltered environment, she is simultaneously “from the forest” (as girls often are in fairy tales) and the next level in human development as a result of science. Hanna represents the establishment’s attempt at a totally controlled and engineered human godchild—the stuff of myth and legend. The great voyage of discovery is that she herself is abnormal because she is superior. She is a genius who has had “empathy” bred out of her, though she displays empathy in certain cases. Read more of this post

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Alchemy in John Donne and Ben Johnson

October 25, 2010 Leave a comment

Alchemist in his lab

By: Jay 

Copyrighted.  All rights reserved.

     Next to William Shakespeare, John Donne (1572-1631) and Ben Johnson (1572-1637) represent the English Renaissance’s top literary luminaries.  While notable for its broad and renowned corpus from such divines, this era is also known for being the transitional period from the older, hermetic view of a unified totality worldview to a newer, demythologized cosmos, beginning with figures like Sir Frances Bacon.[1] In the ancient and medieval western mind considered generally, the world was governed by a series of celestial spheres, rising in gradations to the highest, purest sphere of heaven itself, where the source of being, God, subsisted.

     This chain of being was a common feature of the older Platonic, Aristotelian and Ptolemaic systems, which over time accrued aspects of Christian mysticism, Jewish cabala and ancient gnosticism, consequently blending with Arabic ideas of “Al-Chemi,” coalescing in the western mind in thought of Renaissance theologians like Giovanni Pico Della Mirandola, Marsilio Ficino, Paracelsus and Cornelius Agrippa. These thinkers in turn influenced the literary works of Donne and Johnson in a profound way, which are on the cusp of the Baconian Revolution, yet still retain the older cosmological and hermetic views.[2] In this paper, I will analyze and compare Donne’s “Love’s Alchemy” and Johnson’s “XI: Epode,” considering the occult and alchemical usage in each. 

     Donne’s “Love’s Alchemy” is one of his most well-known, yet without an understanding of the alchemical theories of the time, the poem would be difficult to decipher. The poem will present the alchemist’s desire to produce the “philosopher’s stone,” the ever-elusive “elixir of life” or “quintessence.”[3] Before analyzing the poem, it is important to see that Donne was most certainly familiar with alchemy in its mystical form, and references figures such as Paracelsus. Donne references Paracelsus in his Letters as well as in the Sermons.[4] Donne writes as follows: “…And after, (not much before our time) men perceiving that all effects in Physick could not be derived from these beggerly properties of the Elements, and that therefore they were driven often to that miserable refuge of specifique form, and of antipathy and sympathy, we see the world hath been turned upon new principles where were attributed to Paracels, but (indeed) too much to his honor.”[5]  Later, Simpson quotes him as writing in his sermons: “…we embrace the Rule Medicorum theoria expeientia est [in margin, ‘Paracels’].[6] Simpson also qualifies this by considering the somewhat satirical views Donne had toward Paracelsus in Ignatius and His Conclave.  Be that as it may, the theories presented by Paracelsus regarding the main themes of alchemical theory and the refining and transmutation process.

     “Love’s Alchemy” was published in 1633 in Poems, and makes direct reference to the alchemical art.[7] Donne’s poem begins:

Some that have digged deeper love’s mine than I,
Say, where his centric happiness doth lie.
        I have loved, and got, and told,
But should I love, get, tell, till I were old,
I should not find that hidden mystery. Read more of this post

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Lemony Snicket’s Film – Esoteric Analysis

October 5, 2010 18 Comments

Film Poster

By: Jay 

Lemony Snicket’s: A Series of Unfortunate Events represents a deeper attempt at “hidden in plain view” revealing of occult secrets, than anything you might find in the more popular Harry Potter series. Harry Potter is an overt kind of participation in witchcraft, but Lemony Snicket’s is something else. It presents, in fact, a much more realistic and subtle allegory for the modern intelligence panopticon-inspired control system. Harry Potter focuses on superstition, while Lemony Snicket’s focuses on the actual workings of the cryptocracy. 

Admittedly, I have not read the book series, but I have seen the film several times and read in depth analyses of both, and it’s pretty obvious what the message is, if you have eyes to see. The most prominent symbol in the film is the eye, and particularly the symbolism of the eye as the All-seeing Eye. The eye here is not so much an Egyptian or religious symbol, but rather in the sense of the panopticon of control by secret societies. The eye is the means by which the populace is watched, as well as by which information enters the mind.  In the film, the Baudelaire children, having been orphaned by their apparently dead parents.  From the beginning of the DVD, we see this imagery, as the kids are attached to the marionette strings of Count Olaf, the antagonist/evil genius. 

Count Olaf holds the Baudelaire children on a marionette string with panopticon All-seeing Eyes

There is endless speculation and pyschonautery concerning the meaning of the eye among the conspiraciologists, but we need not jump to the extreme for understanding its real esoteric significance. Yes, there is the evil eye and yes, there are All-seeing Eyes that had to do with Egypt, but when you consider the modern relevance of this symbol, it has much more to do with technological surveillance of all areas of life and thus a constructed control grid than it does necessarily with ancient Egyptian deities. Indeed, the symbol itself is just a symbol of divine providence or omniscience. What the referent for “divine” here, or whose “eye” is meant is entirely up for grabs. It could refer to intelligence agencies, such as the old MI-5 Logo or the proposed DARPA logo (which is probably the most likely reference), or perhaps to Satan. Count Olaf, as well will see, will have “devilish” and God-like characteristics. Read more of this post

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“Weird Science” – 80s Alchemy Based on Gnostic Myth

April 16, 2010 1 Comment

By: Peter Parker

Although the idea that Weird Science is rife with occult underpinnings might, at first, seem a ludicrous contention to some, on closer examination of the text numerous esoteric currents begin to emerge. The film and by extension the music video make use of numerous cultural artifacts that have their origin in the western occult tradition, whether the film/video makers themselves were fully aware of it or not.
Most people will immediately be able to identify Mary Shelley’s Frankenstein as one of the primary keys to fully appreciating the film. Anyone unfamiliar with Frankenstein will miss the central parody of the movie. Though the idea of Frankenstein can be reinterpreted as a critique of scientific or occult hubris, it is difficult to discern whether this was the intent of Mary Shelley herself. The novel’s protagonist Victor Frankenstein (based, to some degree on Mary’s husband Percy) starts out a vociferous reader of alchemical and occult authors, such as Agrippa and Paracelsus. After attending Ingolstadt University, birth place of the infamous Bavarian Illuminati, a fact that goes unmentioned in the novel, (serving, essentially as a wink to the knowing reader) Victor’s schoolmasters teach him that his occult heroes were full of unscientific hogwash. Despite this he swears to carry on the spirit of their great work using the tools of modern science. To this end he creates a golem out of expired human body parts, in what is a perverse imitation of both the creation and resurrection of Man. The story perfectly encapsulates the ethos of the Romantic Revolutionary, who rejected Christianity yet sought some manner of spiritual ground beyond Enlightenment Materialism.

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The Saint (1997) – Esoteric Analysis, Pt. 1

April 14, 2010 2 Comments

By: Jay

I loved the 90s. It was a fun time in my life and one film that sticks out as a kind of goofy, tongue-in-cheek indulgence is The Saint, starring Val Kilmer and Elizabeth Shue. At first glance, the movie is entertaining, but doesn’t stand out as a great film of the 90s. However, like many other instances, I’ve come to notice subtle, hidden meanings and themes that run throughout the film.

“Simon Magus was a magician and a sorcerer…” We see in the opening shots Val Kilmer’s character at a oprhanage reading a comic book of the famed medieval and puportedly Satanically-inclined sect, the Knights Templar.

Simon Magus was the arch-heretic of the book of Acts and believed by many of the Apostolic Fathers to be the first gnostic, giving spawn to a series of libertine and flight-from-reality sects, popularized in modernity as “gnosticism.”

This theme of secret knowledge will run throughout The Saint. Val’s young character refuses to say his name and is punished by the headmaster of the orphanage – a refusal to be connected with the actual saints, as he already has an interest in the alter “saints” condemned by the Church in 1312, known as the Templars.

Instead of miracles, this saint, through trickery and deceit, unlocks the orphanage food and feeds the other children who are being deprived of a meal as a punishment – a take on Jesus’ feeding of the 5,000. Next, we see “Simon Templar” (his new name) running through the streets engaged in more mischief doning a cape with a Templar Cross. In the esoteric, receiving a new name is an important step in the process of gnostic apotheosis. Failing to attain his hero’s kiss from his young love, she slips, falls from the balcony, and dies. Flash forward to the modern Simon Templar, ever-bruised from his youthful tragedy, the rogue agent is busy infiltrating the large Russian Tretiak Oil and Gas Industries building.

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