posted on Apr, 29 2005 @ 06:11 AM
In our current history I think you’ll agree that the individuals who, incredibly and consistently, seem to become our leaders continually find the
need for and authorise war with an almost clinical disconnect from the actual living horror that will unfold upon the lives of individuals they will
never have to mix with in any other capacity other than a victory handshake.
How these individuals come to power and always seem to end up exhibiting the same traits as those who lead before them regardless of any promises is
no accident. These are the individuals who only succeed to become leaders if they achieve the ‘transmutation’ and begin to see all people as a
resource to be shaped like clay into the direction clearly laid out in ‘the great work’. Unless they submit and ‘connect’ themselves willingly
and completely to the Luciferic currents, they will never ‘have what it takes’ to make it to the top. It is a system that guarantees the ‘wrong
sort’ will never enter into power and thus ensures perpetual tyranny.
For the most part, it is the subliminal psychological conditioning of the masses that goes mostly undetected and its appearance comes in all kinds of
disguises. We are led to believe that subliminal means flashing the word ‘coke’ up during a desert scene in a movie but the real reality of
subliminal messages is not the puzzle book ‘find the hidden’ word myth that most published works claiming a so called expose of subliminal movies
and advertising focus on, but rather the existence of subtle ideas, themes and concepts embedded in major works that cause an almost imperceptible
sea-change in human beliefs. This is how the belief systems of millions of individuals, living together in close proximity and exposed to the same
information entertainment systems, are formed and altered, literally beneath our will, over time by the slow release of compatible overt and covert
ideas. The covert are the ones that can be readily appraised intellectually and debated and rejected or accepted accordingly usually embedded in the
plot or story detail of a news item, movie or book work by saturation and excitation and can be easily identified and categorised by the human mind.
The more intricate ‘implied’ ideas that cannot be summed up in ‘keywords’ or phraseology take a slower back door approach to changing accepted
social norms – and are rarely seen - they are the cameo’s if you like of any given momentum and are also in some case the golden threads we were
referring to previously. They maybe the use of a specific symbol, the five pointed star, for example may embody itself in the art and logos of a whole
raft of seemingly unrelated works of literature, art, movies, products id’s or adverts to create an occult union missed, or dismissed, by the
As a far more sophisticated example, consider the idea that Stanley Kubrick’s movie 2001: A Space Odyssey in which a mysterious monolith comes from
space and is in itself a vehicle of change or at least symbolic of its format. When the monolith first arrives, as a stranger bearing gifts, it
alchemically changes the primitive ape, via some mysterious undisclosed process heralded by a harsh emitted noise, into a murderous and suddenly meat
eating barbaric creature. He is now a creature of the tool in the guise of a bone axe at first and he immediately goes to war on the other tribes he
had previously lived in peace with. The monkey is mutated. The symbolism is of the tree of knowledge and the garden of eden.
Later it jumps from the bone to a space shuttle via a few thousand millennia to reveal the space travelling civilised and very modern man sat sucking
liquid carrots or finely cut beef sandwiches from a carefully packaged container on his way to the moon. True to form, the government is sending a man
to ‘keep the lid’ on the fact that they’ve found a monolith on the moon.
If we jump on to later in the movie we finally see, after another ‘burst’ of monolithic energy, the astronaut ‘Bowman’ transmuted into the
star child who finally returns to earth as if to be infused directly back to earth as a living child soon to be born in the womb of some Mother Mary.
Except now he carries with him a Christ like wisdom or Buddha like disposition and clearly is on a mission to prepare humanity for it’s next step.
What that makes the starchild I shudder to think.
So subtle is Kubrick’s revelation, that not only are there embedded messages but the entire movie itself is completely alchemical. Regardless of the
deeply symbolic and quite obviously alchemic planetary alignments that announce each and every monolithically triggered ‘mutation’, the entire
movie is filmed in a unique ratio widescreen with the black borders above and below rendering the size and shape of the screen image to be the exact
same ratio as the monolith.
The movie itself is announcing to you, the viewer, that it is a monolith of change. It is unlikely that we all received some kind of physical
transmutation but on watching that film you were saturated with a series of images and more importantly ideas that previous to that moment were either
unknown to you or were at least rather vague un-clarified notions or feelings, perhaps considered or read by some but certainly not known by or
embedded mentally in the minds of millions.
The moving image crystallised those ideas and fired the words and meanings deep into the conscious thinking brain and the rich and vivid visual
imagery directly into the subconscious, over which you have little or no control, until they re-appear as thoughts to the conscious mind and perhaps
the next time they crop up is in a hearty debate with your friends wheeled out as ‘your beliefs’!
It is this marriage of visual and logical, which as discussed makes the TV and movie a unique medium. It is interesting to remember that Kubrick’s
2001 was a big favourite with the 60’s counter culture – even the tag line hinted it was a ‘trip’ and many people felt the only way to watch
such a movie was while being heavily stoned or with the ‘doors of perception fully unlocked and ready to open’ so to speak! Ultimately, one of the
deeply set subliminal in the entire film is that man came from monkeys and that only via a ‘higher force’ capable of such incredible technological
advances is he able to transcend and pursue his evolution.
Sounds very much like Von Daniken when capsulated like that, also we see those ‘ascended masters’ or Christ figures are back to make another
I’m assuming here that no one would argue that the monolith was indeed an accelerator of unknown origin, aimed directly at organic life, and that
whoever it’s originators were they are certainly cable of shooting out into the infinite darkness of the universe an endless number of these
‘evolutionary accelerators’ to unknown landscapes. And they did so by ‘right of might, and right to rule’. In that it wears its Luciferic
colours proudly on its sleeve.
Never were the humble veggie apes consulted prior to their ‘upgrade’. Of course, some may argue how can you request the permission of a creature
unable to think or relate to you on your terms – surely the ‘gift or reason’ is the first step – and I would agree – but if this is the
entire truth, why we are STILL not consulted regarding our existence today by the creating deity, and why are we still unable to directly communicate
with the force of energy that seeks to consume us?
Forced evolution should be a two way street, but it is not. Intelligence hardly seems like a gift when all it affords us is the ability to make better
weapons to ‘self-harvest’.
Even the opening theme ‘thus spoke zarathrusta’ is in itself literally an ode to Nietzsche’s ‘ape to superman’ theorem and evidence that
Kubrick at least, if not Arthur C Clarke who wrote the novel called the Sentinel upon which the film was based and who got seriously anxious about the
religious and metaphysical component of the movie, was absolutely conscious of the ideas he was implanting.
Such an act of universal species ‘terraforming’ is not held in contempt but is actually revered in the movie – again we can see how subtly the
ideas of bowing down to ‘a higher authority’ can be implanted.
What ideas in Kubrick’s life was he exposed to that caused him to embed such an elaborate concept, which, exactly like Von Daniken’s ‘Chariots
of the Gods’, time and time again appears to give credit for the evolution and existence of mankind to a ‘higher’ external entity or
intelligence and, even more darkly, that the homo-sapiens and its sub species are, in actual fact, nothing more than the property of something
inconceivably powerful which chooses to remain veiled by the curtains of reality.
What is remarkable is that there are literally dozens of examples throughout history evidence of this kind of ‘external illumination’.
Indeed the accounts of ‘sudden change’, the so called ‘ape- superman’ are so many that when you begin to dig into the history of the occult
and the accompanying secret societies that concealed them you can barely find an episode or individual of note’s life story where such an occurrence
did not exist. The fingerprints left by this external illuminating entity are literally everywhere!
The actual medium of the technology, in Kubrick’s case is the monolith. The TV with its speed of light and speed of sound high frequency signals is
perhaps just such a variant of this medium. It’s the reason that TV and movies are so addictive that they have become the medium of choice for
ideas, and although one’s mind does flit briefly across the idea that in each and every home we may indeed have installed our very own ‘monoliths
of transmutation’– this particular vehicle for change is man made and I suppose only time will tell if it’s existence was merely to connect and
prepare our mental gates for opening.
It’s strength on a spiritual level lies in it’s ability to show and connect us with the aspirations of a seemingly endless conveyor belt of human
stories, fantasies and adventures that the average man can never hope to achieve or experience in his life.
The stories remind us just how painful and how uplifting the human experience can be. If the motives of the movie and TV producers were all that we
had to worry about then we’d be fine, it’s the non-human content mix of these stories that is being brought to an ever greater audience, and the
incidence of them is accelerating like never before. Is it simply ‘box office revenue’ that is creating the drive towards fantasy and the occult
and thus a paradoxical vicious cycle or is the change already there in us –waiting for the right product to stimulate dormant regions of the
As we have discussed the moving TV images greatest strength is in it’s ability to deliver, below the threshold of conscious censorship, an image
contaminated with a ‘secondary idea’, which once received, can never be erased.
Over time when these contaminated images are magically woven into the seams of a great human story or even a badly translated novel we end up with a
slow and gradual shifting of perspective and our ability to discern reality against the past or a previously accepted cultural watermark almost
completely dissolves. Perhaps the unseen symbol of the five pointed star acts as a kind of mental database key – as you watch the appearance of a
five pointed star in a movie or on an advert causes your brain to link it up with 3000 other consciously and subconsciously received references. It is
clear we really have no idea how our minds manage, link or relate ideas and what ultimately this does to the personality.
The explosion of supernatural, occult, horror or science fantasy material during the last 50 years has created many magnificent cinematic epics –
and I’d be the first to admit being a fan of such things for no apparently logical reason – and yet it’s effect on us as individuals or as a
society as a whole has rarely been considered. The occult has saturated virtually every aspect of modern consumer entertainment and we should now be
concerned that once again the elite super rich controllers ‘green light’ through Hollywood via a tiny number of controlling media giants all the
programmes and movies that we watch today.
Indeed the Pentagon and Nasa even have heir own movie liaison ‘front office’ departments which ally directly to many Hollywood studios and offers
guidance on certain thematic and ideological story developments. It can hardly of escaped anyone’s attention that this decidedly non-human
‘hidden’ factor now forms the foundation of our entertainment and fantasy based belief systems and as I show later has always done so in the form
of the fairy tale, mythology and folklore.
The acceleration we are experiencing today in the volume, the intensity and the form of the exposure is in my opinion a form of preparation – we are
literally receiving thousands of tiny ‘monolithic bursts’ each introducing an aspect of an entirely new belief system in the mass mind.
I would wager there is hardly a reader of this book who has not heard of Roswell, but of what concern is it in your daily life? Is anyone afraid that
aliens may have crashed in 1947 – I doubt it – but we certainly that on a superficial level most people excited rather than repelled by the idea
that ‘they may already be here’. The reason we may not care or treat the issue with suitable concern is simply over-exposure and repetitive
The foundation of trauma-based conditioning is that you start with small minor revelations or ‘micro-shocks’ and over time once you’ve become
passive to these ideas and images, to which you in your own mind believe you’ve clearly not been affected, the degrees of intensity are slowly
increased. Were probably close to the point where we will sometime in the near future be queuing up to watch horrors that perhaps only 5 years would
have landed the producers in jail. Right now we linking all these ideas in our mind – good aliens check – cross-reference that with bad aliens –
check – lights in the sky – check – cross reference with good aliens etc – the assimilation of immense ideas continues at breathtaking speed.