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

Uncharted 3: Drake’s Deception – John Dee, Crowley’s Hexagram Symbol

Starting at 6:20

‘Apocalypse Man’ Pentagram

Accidental pentagram shot due to it being an old building? Perhaps.

Eyes Wide Shut (1999) – Esoteric Analysis

Mirror image film poster showing Nicole’s ‘open’ eye in the midst of sex: the characters’ inner pysches and problems are about to be mirrored in the ‘real’ world, as they realize they have been blind and ‘profane.’

By: Jay

Eyes Wide Shut is a film that failed to live to the expectations of many. It was supposed to be an edgy thriller that made statements about upper echelon decadence, while also utilizing the real world sex life of Tom Cruise and Nicole Kidman as a kind of doorway bridging the gap between reality and fantasy – something that does come up in other Kubrick films, such as 2001: A Space Odyssey.  In this Kubrick film, however, we have a statement about who runs the “show.”  The show is both the film itself, as well as reality, and Kubrick wants viewers to realize that reality is run by our present showmasters of the videodrome. The viewer is supposed to reflect upon the decadence of the Eastern elite establishment, but also notice that viewing the film itself is homage to present social hypocrisy, since the film is a wannabe voyeuristic step into the sex lives of others. In this regard, it functions as an initiation. None of the other analysts and commenters have really noticed this. Virtually every review I have read sees it as some elaborate “MKULTRA/Illuminati” mind control thing (as is supposedly everything on those sites), while other reviews from professors and academia see it as a social or psychological commentary.

I think it has elements of all this, but the real goal is, I believe, an initiation process. The viewer is at the film because he or she is curious about Hollywood secrets and elite lives. Think of all the silly gossip magazines we have.  The “average Joe” went to see the film for a glimpse of Nicole Kidman, and Kubrick wants the viewer to see the hypocrisy in such an action, given that most people will “judge” the film’s secret society cult. Eyes Wide Shut, then, is a descriptor of the audience, as well as the characters in the film, who don’t really understand the socio-political power base that runs things. The power base is not, according to Kubrick’s film, the average politician or wealthy doctor or lawyer in New York.  Indeed, this is precisely Kidman and Cruise’s characters’ status: they are unwitting inductees. Thus throughout the film, the viewers eyes are wide shut to the reality of the power structure, just as Kidman and Cruise’s characters are, until the end, when they have their eyes “opened,” as they both say at the end. Let us proceed.

The opening scene shows us Mrs. Harford (Nicole Kidman) between two pillars. This is the doorway to the initiation, in other words. The two pillars figure prominently in Freemasonry as the entranceway to the divine, as borrowed from Solomon’s temple:

Nicole stands between two pillars – Jachin and Boaz, setting the initiatory tone for the film.

The two pillars of Freemasonry borrowed from Solomon’s Temple, indicating the doorway to the “mysteries”

The viewer is being told from the beginning that they are to undergo an initiation into how the “mysteries” and the secret societies work, particularly from a sociological perspective.  The Harfords, we discover, are having marital troubles related to sexual frustrations. It is also significant that it is Christmas time, when the initiatory procedure takes place, as a kind of anti-traditional religious/anti-Christian statement. It is also important to remember that all details in a Kubrick film are significant – the placement of everything is meaningful and deliberate.
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