The Master (2012) – Jay’s Analysis

The fractured, kaleidoscope poster portrays the fractured, disassociative nature of Freddie Quell’s psyche.

By: Jay

P.T. Anderson’s The Master is great, primarily as an artistic presentation of a very dark subject: the manipulation of mind control.  Not mind control in the mass psyche which this blog focuses on generally, but in the localized cult setting.  Loosely based on L. Ron Hubbard and Scientology, The Master  is an in-depth display of the tactics and techniques of manipulation, brainwashing and mind control, as the Hubbard-esque Lancaster Dodd (Philip Seymour Hoffman) plays the puppet strings with the fledgling cult.  Dodd’s focus in the story is the base vagrant Freddie Quell, who stumbles upon a yacht rented by Dodd and finds temporary work.   Interestingly, Hubbard himself possessed a similar yacht for a time, particularly during the heyday of his mountebank activities.

While most people have a vague idea of Scientology, most are unaware of Hubbard’s occult activities prior to creating Scientology.  Hubbard was involved in Crowleyanism for several years and “graduated” from his period of occult tutelage.  In effect, this meant that Hubbard had mastered the tools of manipulation and human psychology.   Hoffman plays Dodd brilliantly as a charismatic con-man (essential for any cult leader).  In this regard, what is lucidly portrayed are actual mind control techniques used by cults.

Principally, Dodd uses repetition of vague phrases, reaching into Quell’s subconscious to find the weaknesses in his psyche, as well as traumatic incidents involving war experiences, an absent father and sexual sins.  After bringing up these traumatic incidents, Dodd quickly elicits warm-fuzzies by appealing to Quell’s most pleasurable memories surrounding a youthful flame.  As the manipulation progresses, Quell is subject to a back and forth process of acceptance and rejection, where the individual is given a proxy family (the cult), and then fears exclusion and exile.   A pattern emerges, and the individual’s will is subject to mandated meaningless, repetitious actions (often under sensory deprivation), with the goal of disorienting the psyche, and attaching it to the welcoming father and mother archetypes (Dodd and his wife, played by Amy Adams).  Quell’s conditioning, termed in the film “processing,” is eerily reminiscent of trauma-based mind control.  In fact, the film is really about Dodd learning to become a charismatic, slimy master of human manipulation. Read more of this post

Jay’s Analysis – Kant & Wolfgang Pauli – Inner and Outer Worlds

“A system of categories is a complete list of highest kinds or genera. Traditionally, following Aristotle, these have been thought of as highest genera of entities (in the widest sense of the term), so that a system of categories undertaken in this realist spirit would ideally provide an inventory of everything there is, thus answering the most basic of metaphysical questions: “What is there?” Skepticism about the possibilities for discerning the different categories of ‘reality itself’ has led others to approach category systems not with the aim of cataloging the highest kinds in the world itself, but rather with the aim of elucidating the categories of our conceptual system. Thus Kant makes the shift to a conceptualist approach by drawing out the categories that are a priori necessary for any possible cognition of objects. Since such categories are guaranteed to apply to any possible object of cognition, they retain a certain sort of ontological import, although this application is limited to phenomena, not the thing in itself. After Kant, it has been common to approach the project of categories in a neutral spirit that Brian Carr (1987, 7) calls “categorial descriptivism”, as describing the categorial structure that the world would have according to our thought, experience, or language, while refraining from making commitments about whether or not these categories are occupied. Edmund Husserl approaches categories in something like this way, since he begins by laying out categories of meanings, which may then be used to draw out ontological categories (categories of possible objects meant) as the correlates of the meaning categories, without concern for any empirical matter about whether or not there really are objects of the various ontological categories discerned. Read more of this post

Weird Psyience – Conspiracy, Totalitarianism and Propaganda

"The Origins of Totalitarianism" by: Hannah Arendt

By: Jay

Most people do not think of “science” as something coming under the auspices of propaganda and manipulation.  However, as Hannah Arendt shows in her masterful work, The Origins of Totalitarianism, the philosopher highlights several examples from Soviet and Nazi propaganda use of “science.”  This is not to say there is no science, but rather that the given corridors of power are only going to support the “science” that supports the present regime itself.  Thus, race was outlawed in the Soviet Union, and any facts that contradicted the Nazi ideology, such as the downfall of the Reich, were illegal in Nazism.  Psychology and advertising become tools of the totalitarian scheme to further the Gospel of the regime – the deification of the race, or the classless utopia the dialectical material processes of historical forces have been working towards.  Both ideologies include an eschatology and a promise of salvation, and as such function like Roman Catholicism, with an infallible leader.

Conspiracy, in these systems, becomes the ideology of the enemy.  Arendt mentions the Nazis using the Protocols of the Learned Elders of Zion, as well as the Bolsheviks using the conspiracy of the 300 ruling families, the conspiracy of the MI5/6/CIA controlling all world events, etc.  The adopting of the conspiracies need not be perfectly consistent, either, so long as they have an explanatory power that is useful for the immediate time, since the masses have little memory of the past, and it need not matter if the prevailing conspiracy of a decade earlier is not consistent with the present conspiracy.  For example, consider the threat of the Soviets of the Cold War, which magically disappeared and morphed into the threat of international terrorism.  Where were the Jihadis before they were radicalized under Carter’s administration?  I thought the Jihad went back to Mohammed himself.  Similarly, where did all the Soviets go?  Did they magically all adopt global capitalism after the “wall fell”?

In reality, as Arendt’s chapter on propaganda shows, all of these threats are manufactured, controlled, created, guided, or allowed to have some autonomy, within a certain predetermined sphere.   This is the game of global power blocs, and mass psychological warfare and the control of “conspiracy theories” is crucial.  The government and any given regime is not opposed to conspiracy theories – in fact, governments thrive from paranoia.   What is key is causing the masses to accept a certain propagandized conspiracy theory.   At present, global terrorism is the poster child.  And the masses still largely buy into this narrative.  History, then, must be controlled by the regime, and no errors or mistakes can be admitted, beyond a feigned incompetence of some patsy.  In fact, the historians, academics, and “scientists” all magically seem to tote the line, generally, of the regime in power.   When global finance capital becomes the enshrined global power, the academic sectors magically support the Gospel of the system’s salvation and prosperity, unless they are part of the controlled opposition, which is crucial in any empire.  Read more of this post

Inception, Labyrinth & Jungian Analysis

By: Jay

Ariadne constructs the labyrinth in the Greek myths. In Inception, she is the projection of Cobb’s pysche that grounds him – the anima of Jung. Some goofballs in a forum were laughing at my analysis of Labyrinth, but if you look at Inception, there are some very fascinating parallels between the two, inasmuch as we enter Sarah’s psyche just as we enter Cobb’s. Both are labyrinthine.

In “The Process of Individuation” by M.L. von Franz in Carl Jung’s Man and His Symbols, explains of the meaning of the labyrinth as subconscious:

“The maze of strange passages, chambers, and unlocked exits in the cellar recalls the old Egyptian representation of the underworld, which is a well-known symbol of the unconscious with its abilities. It also shows how one is “open” to other influences in one’s unconscious shadow side and how uncanny and alien elements can break in.” (pg. 176)

This dude nails it in terms of all of Inception being Cobb’s process of individuation. And never listen to anyone who uses anime characters as their avatar.

Bowie’s “Labyrinth” – Esoteric Analysis, pt. 1

By: Jay Dyer

Dedicated to Ross!

It’s always fun to go back and watch the movies you grew up with. However, it can also be a disturbing experience, akin to finding out that uncle you had that was so cool was actually an alcoholic. This last week re-watched several movies that were favorites of mine from the 80s. I started with the Jim Henson/George Lucas production Labyrinth(1986), starring David Bowie and Jennifer Connelly.

Seemingly a harmless mish-mash of various fairy tales into one puppeteered hodgepodge, virtually all of my contemporaries are well familiar with this film which constitutes, as we say, the “essence of 80s.” But is it harmless fun, or is there something else going on?

In the story, Sarah (Jennifer Connelly) is a young girl who has yet to enter womanhood. Her parents are divorced, while her mother is a moderately popular actress we never meet. Sarah is obsessed with fantasies, and in the opening scene we see her in a park/garden, where she wears a pure white dress, emblematic of edenic purity, reciting lines from the book, The Labyrinth. But Sarah isn’t just standing in a garden/park, she is surrounded by Egyptian/masonic obelisks as seen here and in the video below.

Read more of this post

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