Strange Sound Phenomena: War of the Worlds PsyOp

Tripod sound the same as the “strange sounds”

By: Jay

I noticed listening to the videos of the strange sounds that have been happening all over the globe, that in many instances they sound just like the Tripods in Spielberg’s version of War of the Worlds.  Since this blog examines the interplay between fiction and reality in film and literature, this connection should not be tossed aside.  And, to those who pay attention, it won’t be.  When we consider the continuum that is the totality of the fictional world (including modern film especially, and the real world (which encompasses) the fictional, we see, as Umberto Eco has explained, a reciprocal relationship between the two.

Since those at the top have been aware of this for a long time, control of fiction and then foisting this into the real world is a tremendous tool of social engineering.  In this instance, when we look at the fictional story, it is an apocalyptic alien story that is chosen because H.G. Wells was a globalist visionary who helped plan the coming New World Order.  In the narrative, the aliens end up killing a good portion of the earth.

Population control is central to the elite plan, so it’s entirely possible that the populace is being told by the standard “hidden in plain sight” approach to look to H.G. Wells and the coming war of the worlds, which, has several levels of meaning.  One one level, it’s a possible third world war, and on another level, the war of the elite against the masses, signifying a coming bio-release or some other mass weapon.

This then suggests a human origin to the sound for the purpose of psychological warfare and the engineering of an attitude of perpetual fear and paranoia.  Psychological warfare is geared toward making the enemy lose in his mind first, before the battle begins or continues.  In the film Hugo, there are all kinds of symbolic and esoteric messages being sent (an analysis is forthcoming), but one interesting element is that it takes place in Revolutionary France, and the focus of the revolutionary impetus converges in the film director.  Read more of this post

Horkheimer, Adorno, Habermas, and the Dialectic of Enlightenment

 

Horkheimer and Adorno's 'Dialectic of Enlightenment"

By: Jay

Max Horkheimer and Theodore W. Adorno, key figures of the Frankfurt School of Marxist Critical Theory, wrote in their landmark work, “Dialectic of Enlightenment,” that “myth is already enlightenment, and enlightenment reverts to mythology.”1 By this, the authors mean that the historical progression of the enlightenment tradition has actually subverted its original intentions of, as Francis Bacon wrote, making man the sovereign of nature, and has actually produced the opposite: barbarity and domination of the social nature in fascism and Stalinism.2 In response to this, later Frankfurt School writer, Jurgen Habermas, responds to Horkheimer and Adorno with an interesting counter-critique. The purpose of this paper will be to examine Horkheimer and Adorno’s criticism of enlightenment and Habermas’ response.

The project that Horkeimer and Adorno engage in is correctly titled an “immanent critique”; called by Habermas “ideology critique.” This type of critique arises out of Kant and Hegel. In this approach, a system, or ideology is investigated internally to see whether its presuppositions are consistent with one another. If they are not, then the system is considered self-refuting. Thus, Horkheimer and Adorno make the case that the enlightenment tradition fails the test, and the inheritors of the enlightenment tradition, namely the Vienna Circle positivists and nominalists, are involved in promulgating a self-destructive, self-refuting ideology.3

Horkheimer and Adorno set forth their case in the essay, “The Concept of Enlightenment.” They hold that enlightenment thinking has displayed a couple major motifs: demythologizing the natural world through knowledge and control, dominating that demythologized nature through autonomous, instrumental reason. These motifs are inter-connected, and actually interact and affect one another in a dialectical fashion.

First, they argue that the enlightenment tradition has, from mankind’s beginning, been bound up with myth. A study of the social evolution of ancient societies demonstrates, according to Horkheimer and Adorno, myth actually arises as a response to mystery and the domination of man by the natural world. Thus, one can see in the earliest known human societies the mythological scheme actually produces a kind of classification, a seeking for origins, and reductionism, though not self-consciously. In other words, just like enlightenment, “myth seeks to explain.”4Enlightenment, however, since Bacon, Kant, Hume, and up to the positivists, has failed to recognize this dialectical relationship. Instead, For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry. Unity remains the watchword from Parmenides to Russell. All gods and qualities must be destroyed.5

  Read more of this post

Blade Runner (1982) – Esoteric Analysis

 

Analysis moved Here.

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