The Amerikan Temple of Technocratic Doom

Amerika! Comin' again to save the muthaflippin day, yeah!

Amerika! Comin’ again to save the muthaflippin day, yeah!

“To be is to be deceived.” -George Berkeley

By: Jay

This week I have revisited a lot of research I did years ago on mind control, MKULTRA and other programs, with a fresh perspective.  I find that from a research vantage point, delving into something, then moving on to something else for a few years, and then returning to the original issue provides new insights and revelations.  In literary theory, the practice is similar, as you “chew” the material you’ve digested, returning to it again after some reflection.  This has led to some really fascinating revelations about the nature of propaganda and psychology.

Semiotics is the philosophy of signs and linguistics, and can be extended in a broad sense to all reality.  When you are driving down the road and read a sign, you are using semiotics.  When you walk down an alley and see a fat broad with a slutty outfit that propositions you, and you surmise she is a hooker, you are using semiotics.  In short, because all reality is a process of receiving patterns and symbols, the manipulation of signs and symbols is thus what rules reality.  In order to break free from the “matrix” of propaganda and faux reality foisted upon you, it requires simply a commitment to truth.

For most people, there is an assumption that to have a vested interest in the system is the means to get ahead.  Why worry about propaganda or GMO food, when such questions could lead to immediate discomfort.  After all, the trendy snots at the coffee shop that drive BMWs might think you’re off if you were to question the status quo.  But it’s important to keep in mind that neither the Baptist pastor nor the trendy coffee house shit really escape or get ahead by choosing to follow the herd off the cliff.  Where I live happens to be one of the worst areas of gentrified hipsterdom, where there is a complete and total disconnect from reality.  In their orgy of pseudo-individualism and green environmental droolery, the majority of these pill-head zombies have children with cancer and autism, failed multiple marriages, miserable jobs and empty lives of the silliest side of nihilistic abandon.  And this is the middle and upper middle class!  The lower classes are even worse, lacking the basic necessities of existence apart from Gubmint, Inc’s teat. Read more of this post

Oblivion (2013) – Esoteric Analysis

Oblivion film poster

Oblivion film poster

By: Jay

Spoiler Alert

Oblivion is the summer’s first big sci fi blockbuster that opened to mixed reivews. Many movigoers and critics are expressing confusion and bewilderment, not understanding the plot. Others are calling it dull and uneventful, yet my conclusion is that they missed the film’s point.  While there are some legitimate questions as to plot points here and there, the narrative itself is not flawed overall in my estimation.  The key to understanding Oblivion is twofold: conspiracy theory and esoterism.  To be more precise, gnosticism and Platonism.

While ”gnosis” arises often in JaysAnalysis reviews, there’s a reason why: it is a theme really and truly prevalent in so many Hollywood productions.  The reasons for this are manifold, but in the big picture, “Hollywood is an extension of gnosticism,” as one director put it.  Considering the Oblivion director’s previous work (Joseph Kosinski) with Tron Legacy, we can be assured that the themes are intentional, since they are the same in that work.  I have done an analysis of Tron Legacy here.

As a refresher, since JaysAnalysis has gained a larger audience over the last few months, gnosticism refers to the numerous heterodox, extra-eclessial Christian groups of the first three to four centuries.  Gnosticism encompasses a wide variety of sects with varying influences, ranging from Greek pantheism, polytheism, Platonism, far Eastern mysticism and various Christian texts.  One common thread in gnosticism, however, is the rejection of the God of Moses and the Jewish prophets as the “demiurge.”  In this view, the creator God is actually the devil because, it is believed, He has made man flawed and imposed death.  In this view, theology is reversed and man’s goal is salvation through gnosis or knowledge, leading to escape from this plane of existence.  Plato comes to mind here, with the famous dictum that the body is a prison. Read more of this post

Close Encounters of the Third kind – Esoteric Analysis

Film poster with pyramidal image of road leading to the light at the top.

Film poster with pyramidal image of road leading to the light at the top.

By: Jay

Spielberg is in several senses, a master.  His 80s films constitute part of the very essence of what it was to grow up as a child of the 80s like myself.  Those of you who did have a keen sense for that 80s “feel” – a decade when it seemed simpler.  Reagan was a good guy leading the free West against a godless empire of commies and atheists, while yuppies could found businesses, and Jacko burned his curls at Pepsi-funded mega-concerts.  In the midst of this milder pop culture was a series of Spielberg and Lucas films, from Star Wars to Indiana Jones to Back to the Future that made the 80s even more enjoyable.  I recently did an analysis of Raiders of the Lost Ark, noting the esoteric elements found within, and this time we are going to look at that late 70s (1977) gateway to the 80s that was Close Encounters of the Third Kind.

One crucial element I’ve noticed in both E.T. and Close Encounters is a deeper esoteric theme that has been overlooked in all the analyses I’ve seen so far: the nature of symbols, language and communication.  This will become clearer as we progress.  As the film begins, we are shown mysterious ships that appear in the desert, the French scientist and the cartographer interview an old Mongolian man who says of the UFOs that “the sun came out and sang.”  There was a direct connection between the entities and music or sound, and they are directly connected with the sun.   Simultaneously, across the globe in India Hindu pilgrims and yogis had gathered to sing to the entities during the daylight, “Ah yah, Ah yah ye.”  This is close to the Tetragrammaton, the sacred Name of God in Scripture: Spielberg may be making a direct connection to the entities and the biblical notion of God as Lord Zbaoth, Lord of Hosts. In this instance, however, the “hosts” appear to be closer to the gods, possibly as demons or angelic.  Note also that over the old man is the Star of David, a symbol that would be very familiar to Spielberg.

Simulacrum.

Simulacrum.

When the “aliens” arrive at Barry’s house, what happens is more in line with supernatural phenomena surrounding the multitudinous accounts of possession.  Strange occurences like electrical disturbances and electronics going haywire mark their arrival, and it’s worth noting that the police cars, airplane and trucks go haywire, running in circles.  Immediately following the Barry scene, we are shown Roy and his son doing fractions over the family train set.  Roy, we notice, has this fascination with models and miniature versions of things.  In symbology or semiotics (which is key to unlocking Close Encounters and E.T.), the connection of a smaller image, icon or model with the thing itself is simulacra.

"33"

“33″

In semiotics, particularly in Plato’s Sophist, simulacrum is intended to fool the viewer into thinking the copy is the real thing.  The copy takes on a life of its own, yet viewed in scale it would clearly appear that the copy is not real.  This is a perfect analogy for the nature of film itself, as well as the role of the director.  The writer and/or film director is creating a simulacra of the real world with models and pictures, piecing and placing them together in a certain way, just as Roy does with the model train and city he has built. One may think of the simulated beings in Blade Runner or the simulated world of The Matrix here. Spielberg has mastered this art of simulation, and is presenting a simulated reality world – that of UFO-invaded America that is intended to produce a certain effect in the population.  Can this be taken to a larger scale, to which Spielberg and the director himself is a “toy” of the larger, galactic forces or entities of the cosmos?  Are we a Greek scale of being, being “played” and “directed” by the celestial hierarchy? Read more of this post

Bourne Legacy and Total Recall – Rise of the Transgenic Supersoldier

There was never just one because MKULTRA and the transgenic programs were merged into the supersoldier program, ultimately with the goal of immortality, the philosopher’s stone. Renner’s character’s psyche is fractured like Farrell’s below.

B y: Jay

I’m including both Bourne Legacy and Total Recall in the same analysis because both were released around the same time and both contain similar themes.  Of course both are from books, and both are packed with the esoteric, despite both receiving mediocre reviews.  I enjoyed both tremendously, and Bourne Legacy was especially packed with espionage and semiotic dissembling.  Both deal with agents being run by all-encompassing systems that control reality almost en toto.   In Bourne Legacy, we are introduced to the latest (public info) on nanotech and bio-engineering–particularly the attempt to create a supersoldier.   We have thus passed the realm of mere MKULTRA mind-controlled assassins.  We have now passed into the realm of geo-engineered nano-soldiers that have their minds wiped of the past, and are reprogrammed to do the bidding of the geo-political chess masters who handle them.

For Bourne, the plot revolves around the need to take a certain pill to stabilize the effects of altered DNA.  I have, in many instances, engaged in debates with people who deny the existence of any such nano-tech DNA manipulation and in particular, race-specific bio-weapons that have been written about for decades, including recent publications in medical journals, the Sunshine Project, the PNAC, as well as other citations given several times on this blog.  Here is a DARPA video from 1997 that includes an illustration of unconventional pathogen measures designed to destroy the viral DNA.   If the DNA of a virus can be attacked, then the DNA of humans can, as well, and in particular the DNA of certain races.  While this may not be “PC,” since most people deny that there even are races, the shadow establishment marches on already light-years ahead of the multi-kulti moron public engineering all manner of variations in underground labs and level 4 bio-weapons factories. I want to again stress that this video is from 1997.

The pill-taking soldier is a thing of the past with the rise of bio-engineering.  Transhumanism will come to replace the older temporary modifications, as men merge with machines.  Billions of dollars of the black budget are spent on this research from MIT and other secret sites.  The transhumanist goal of course being immortality, a version of the philosopher’s stone, while the more immediate goals are advanced unconventional warfare techniques.    I recall first viewing the later seasons of the X-Files that dealt with the supersoldiers and thinking they were absurd, yet clearly the revelation of the method there was also accurate–there are supersoldiers, functioning as a kind of hybrid between the MKULTRA programs and nanotechnology.  Just this week the New Scientist posted an article on synthetic cyborg tissue.   The article states:

“They beat like real heart cells, but the rat cardiomyocytes in a dish at Harvard University are different in one crucial way. Snaking through them are wires and transistors that spy on each cell’s electrical impulses. In future, the wires might control their behaviour too.”

Read more of this post

Jay’s Analysis-The Philosophy of Geo-politics, Propaganda and Espionage

What about applying philosophy to geo-politics and espionage? Is there a philosophy of propaganda and psychological warfare? What are 3D, 4D and 5Dimensional analyses? What is the “Great Game”? How does Ian Fleming and James Bond fit into this? Is there any relation between fictional entities like Bond and real psy ops and propaganda? How does semiotics relate to this? Is there a relation to the Venusian arts and pickup artists? What about Catholicism and Malachi Martin? –All this and more in the latest podcast installment.

Olympics Opening with Queen and 007 Semiotics

Olympics Opening Ceremony: James Bond and the Queen Meet, Parachute Into the Stadium (Video)

 

Precisely what I was writing my thesis on. See these articles:

The Semiotics of Bond: Ian Fleming’s Use of Propaganda

Quantum of Solace: 007′s Alchemy

Casino Royale Novel Analysis

Golden Eye – Esoteric Analysis

Interview with Former MI5, Annie Machon

Psychological Warfare and Media

Jay’s Analysis – Philosophy of Systems Analysis

Blade Runner: Indepth Esoteric Analysis

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

Film 2012, Uncharted 3 (With Iluminist Symbols) Show Capsized Luxury Liner

Uncharted 3: Drake’s Deception came out last year, and was full of Crowleyan and occult symbology, including Pan, the Enochian alphabet, hearkening back to 007, Dr. John Dee.  It also shows a capsized Luxury Liner, like we just saw in Italy, which contains elements of possible sabotage.

The similarities are striking, including the fact that the real ship shows many signs of funny business.

And, the apocalyptic film 2012 with John Cusack also showed a luxury liner sinking in 2012:

Footloose (1984): Absurd Analysis

Teen millworkers of the world, unite!

By: Jay

Baconista: n., A dance, dance revolutionary.

Footloose is fabulously absurd: a butt-cut Kevin Bacon is swept up into a revolution that overthrows church and state. However, this is no classical union of the proletariat: this is a revolution fueled by music. The Beatles? The Sex Pistols? Metal? No, a revolution of Kenny Loggins, Shalamar and Foreigner. The absurdity lies precisely in this—the adults in this near-Denver town are afraid of soft 80s pop.

Note, however, that the town chosen is somewhere near Denver. I have mentioned elsewhere the importance of the Denver locale in certain films and novels, and my reading of Footloose is essentially that of a vague formula for revolution through music. Kevin, “The Bake,” arrives from Chicago and mystifies the locals with his cavalier attitude and free-flowing gymnastic jocularity. In fact. The Bake is able to dance like no one’s business when alone in a factory at midnight (following upon one beer and one cigarette). The film was actually shot in the Mormon-named city of Lehi, Utah.

The Bake gets a job at the local mills, so we know he is a working class revolutionary, and not part of the bourgeoisie. This gives him the requisite time to practice his flips and snag the town hotty, who happens to be the daughter of Rev. Lithgow who has a thirst for near death experiences and making out. Her name is Ariel, and Ariel is of course a reference from Isaiah for Israel. So the daughter of the male authority/patriarchy/God figure is Ariel, who is led astray by Pan, as a kind of pied piper. The pieces of the puzzle begin to fall in place. Pan is the ancient Greek god of woods, flute dancing, and sex. And dancing is a metaphor for sex. So Pan seduces the Ariel and overthrows the established order. Bacon’s character is named “Ren,” which is the Confucian expression of rightness, or a kind of golden rule. The Bake even teaches his redneck friend Chris Penn how to snap to a beat. Are there actually people who can’t snap?

(You also fry Bacon in a pan!)

So Ren/Pan represents equalization and “justice” against a supposed despotic Baptist theocracy that controls the establishment to the point of local cops being able to write tickets for teens attending rock concerts (?). Are there are any Baptist towns on theocratic lockdown? How is that actually possible, since Baptists believe in strict separation of church and state? I can’t imagine having to drive out-of-town to see Foreigner, and for that matter I can’t imagine seeing Foreigner, period. Meanwhile, Rev. Lithgow listens to Haydn, which we are supposed to believe is boring. Seriously? Kenny Loggins is superior to Haydn? Read more of this post

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