I received a request for two of these so I figured I would put them all here in one place. The notes from any future videos will be added here as well.
Viruses as nano-technology necessitates an intelligence formidable enough to be capable of introducing advanced bio-technology well before it was common knowledge to us according to mainstream history, and moreover written language and its delivery systems are so complex as a macro-technology that it likewise necessitates the existence of an extremely advanced intelligence.
Jonathan discusses nano-tech viruses and how this intelligence used them to alter our physical biology (vaccines are a modern example), so let’s explore that idea in the context of a macro-tech neurolinguistic virus of the mind that utilizes carrier waves to resonate into our awareness through a medium (paper, photos, film, digital screen), a contrived evolutionary process which in Sheldrake’s morphic resonance terms alters our habits via a collective memory update within our self-sustaining etheric thought-form field of awareness (new age philosophies describe this energetic field of memory as the Akashic records).
In his DNA piano keys metaphor from the same recording, genetic code is the “tune” being played by our biological piano. On the etheric level perhaps DNA might be essentially viewed as compressed thought/memories. In other words the process of “morphic resonance” carries our genetic tune/code across generational DNA via habitual collective human memory, however obviously this tune/code (and thus our habits) is adaptable and may be altered through various avenues, both natural and artificial.
Presumably without intending to do so, and while ostensibly giving an alternative to darwinian evolution and modern philosophical science (like many others his role in this respect is to help merge eastern and western philosophies), Sheldrake explains how we have been successfully mind controlled, i.e. over the past 50 years our collective awareness has been altered through habitual consumption of the frequencies emanating out of the digital screen, a gradually accelerating immersion which makes it easier and easier for each successive generation of human beings to both navigate and incorporate digital screens into our field of awareness, insofar as in Sheldrake’s model human behavioral knowledge is constantly being uploaded to the memory “cloud” as it were, positively increasing each successive generation’s ability to adapt to the evolutionarily beneficial habit in question (given the standard modus operandi of this intelligence, 20 years from now this process will be portrayed to us in hindsight as a natural technological “evolution” of the human species).
All you have to do is look at children/teens today and see how their heads are stuck in their phones, or videos of babies/toddlers born in the last 5 years seamlessly navigating the screen. In other words Sheldrake’s hypothesis is that memory is not stored in one section of the physical brain, rather it is a field of collective awareness that a human being’s operating system resonantly taps or “tunes” into, hence the idea that each successive generation of humans will have a greater and greater aptitude for digital technology as that “memory” is born and thereafter refined in the subconscious collective habitual memory field of human awareness (Kubrick’s star child eventually emerges from successive exposure to the black screen at different points in time, an evolutionary process guided by the “Firstborn” intelligence).
This concept is similar to the 100th monkey idea, where certain behaviors eventually reach a metaphorical tipping point such that they are known by an entire species despite lacking direct contact with each other, i.e. though they do not speak the same native language and have no physical contact, Americans, Europeans, Brazilians, Africans, Japanese, Chinese, Russians, etc. are all equally adapting their awareness and habits in response to the changes in the digital screen delivery system, specifically because as a species we all tap into the same etheric resonance or habitual genetic memory code/tune. By saturating previous generations with the television and later the computer screen, current generations are able to pull from that collective habitual memory and thus have a natural aptitude for operating the smart phone.
This effect is elucidated through this intelligence’s planned evolution of the internet, which as a concept is a physical/metaphysical hybrid. In other words while it’s an object that has been demonstrably manifested into physical reality, it’s powered by the collective awareness/mind of all it’s users, a literal medium that harnesses awareness, hence the medium of the screen and the resonance being transmitted between perceivers acts as a carrier for the digital re-wiring of the neuroplastic brain and our collective awareness in general.
Understand the metaphor at work during the switch from telephone dial-up internet of the late 90’s to the post 2001 emergence of broadband internet, literally and not so subtly referred to as an “ethernet” connection, thus underscoring the fact that a mimicry of the Earth’s natural subconscious etheric communication system was built into the structure of the internet (similar to the encoded switch from DVD’s to Blu-rays discussed in relation to the yellow/white sun shift). This idea is developed further in the mid-2000s during the move from web 1.0 (static websites hosted centrally with little user input) to web 2.0 (an architecture of participation, or interactive applications that derive the majority of their content from users themselves), culminating with the release of the iPhone on June 29th, 2007, which induced collective awareness to interactively “touch the screen” as opposed to passively viewing it (creating dopamine release similar to drugs and fostering psychological addiction), evoking the touching of the “monolith” during various evolutionary leaps throughout Kubrick’s odyssey.
This “morphic” attack on the resonant collective memory of human beings is the proverbial boiling frog scenario, provoking an energetic mutation via exposure to EMF/wi-fi and the digital screen, an epigenetic injection into collective human memory, a resonant energetic field that disconnects us from our bodies natural ability to interact with and be informed by the EARth’s resonance, which likewise explains the world-wide push towards herding the majority of the population into mega “smart” cities saturated with this artificial energetic field. The system refers to wild animals as residing in their natural “habitat”, or habit-at, or where the species engages in its habits, so in essence this developing cyber-physical system is an upgraded artificial habitat for human beings (with the added caveat that much like domesticated zoo animals, our habits themselves are artificially created).
It seems clear that the evolution of the internet/screen was timed to coincide with the change in the sun and the associated increase in etheric “bandwidth” being transmitted to each individual awareness incarnated on Earth right now, thus mitigating the impact of that information on the habitual knowledge/behavior of the majority of the collective mind, i.e. this intelligence is designing the cyber-physical grid to steer the habitual genetic code “tune” being played by our DNA piano keys away from the natural harmonic resonance that is attempting to reimpose itself during this age of transitions, which is attempting to expand our collective ability to “download” the information being transmitted by the sun.
In other words this intelligence created an artificial morphic field thought-form that our collective awareness mistakenly uses to inform its generational evolution (this thought-form is comprised of mainstream culture, education, history, news, politics, economics, psychology, etc). So while the process of morphic resonance described by Sheldrake mimics the truth of how our higher scale collective awareness communicates with its individual fractals in its natural habitat (nature), it conveniently neglects to mention the possibility that structured written language and its always evolving delivery systems are a neurolinguistic thought-form virus designed to replace and distort our natural subconscious communication system.
The subliminal thematics embedded and carried through the screen via movies/television/news similarly helps to shape collective awareness by feeding back into and sustaining/reinforcing this intelligence’s artificial energetic field of collective human memory, an artificial field of information that shapes how our awareness views and co-creates the future, given its impact on our stream of consciousness and its memory/projection feedback loops within the moment to moment time stream of the now.
Understanding the interplay between evolutionary adaptation and etheric thought-form resonance, this intelligence understood that it would need to deal with the truth that would be unveiled to an initial minority of the beings incarnated on Earth during this planetary shift in resonance, because of course that information is likewise “uploaded” into collective human epigenetic memory, subconsciously impacting every human awareness on the planet. In short if left unchecked this resonance would spread uncontrollably, eventually dissolving the artificial cultural thought-form and by extension this intelligence’s system of control. Stifling the spread of this resonance explains why they facilitated a controlled leak of some “truth” and mixed it with the distortions and toxicity of their disinformation agents, an especially obvious strategy given the fact that the internet and the evolution of its delivery system was a necessary precondition to the establishment of the ethernet/EMF/wi-fi “jamming” signal pumped out by cyber-physical ecosystem’s smart meters and cell towers.
Moreover throughout its holly-wood spells this intelligence brazenly embeds the symbolic evolution of the neurolinguistic electronic thought-form virus and its according impact on the perception and habitual behavior of collective awareness. In terms of the evolution of the this artificial thought-form and its macro-technological delivery system, according to their script we have reached the stage of “Arrival”.
2001: A Space Odyssey (1968)
Back to the Future (1985, 1989, 1990)
The Walk (2015)
Some of this material will be “old news” to a lot of you, but I’m going to flesh it out from start to finish to deliver a cohesive analysis all the way through to Arrival.
BTTF – Marty time travels into a photo booth, a movie theatre, and a drive in movie screen at different times during the trilogy, clearly playing on the monolith/screen themes embedded in Kubrick’s 2001. What is not so much discussed is the fact that the portal/wormhole opened by the time machine merges with the screen itself (the viewer’s eyes/awareness) at the end of both part 2 and 3. In other words it’s not just the monolith/screen connection, it’s also the idea that the time machine itself is merging with the viewer’s eyes (alluding to time travel of the viewer’s consciousness by extension). In the final scene of Part 3, Doc Brown tells Marty and Jennifer that the future is not set in stone, rather it is what they make it. The converted “time machine” train then proceeds to merge with the screen (eyes/awareness) in the final shot, a supremely tongue in cheek ending for a trilogy that embedded 9/11, Trump’s presidency, and the white sun of 2015, i.e. major events in the known script of our collective future. When you think about it the BTTF trilogy essentially projected the audience’s consciousness into the future without its knowledge, and of course this programming modus operandi was used to a lesser extent in all kinds of other media in order to support the coming 9/11 television screen magic trick.
Now obviously if Zemeckis and the magicians behind BTTF knew the script in 1985, then so too did the intelligence behind Stanley Kubrick’s 2001: a space odyssey movie some 17 years earlier in 1968, which likewise explains Hilton Space Station 5 and the Millennium Hilton black monolith overlook hotel digital screen at ground zero, to say nothing of the coincidental “death” of Kubrick 666 days before January 1st, 2001. Zemeckis then proceeded to direct Contact, which again played on Dave Bowman’s evolutionary consciousness/mental time travel when the main character’s mind recorded 18 hours of static while her body dropped straight through the wormhole portal. Contact was coincidentally released in 1997, right in the heat of the artificial dot com bubble and the mainstreaming of telephone dial-up internet services (AOL etc.), which is when desktop computers, web 1.0, and the internet in general first “made contact” as it were with collective awareness.
The 9/11 television screen ritual 4 years later cemented this subliminal “contact” theme (monolith/screen/evolution), which is why on one level the two towers can represent the two hemispheres of the brain. The “towers” or hemispheres were “destroyed” and one tower or thought-form rose in the place, symbolizing the planned evolutionary leap or “re-wiring” of the neuroplastic brain deeper into this intelligence’s artificial cultural thought-form. One world trade center is an inverted rainbow bridge anti-prism, evoking the idea of a bridge to this scripted mental “awakening” (meta-cortex and thomas anderson’s passport expiring on 9/11/01, etc). On a side note the “golden gate” bridge in San Francisco could be a target of future magic tricks for similar symbolic reasons.
Zemeckis finishes the macro-trilogy with The Walk in October 2015, 30 years after the release of BTTF Part 1, where Marty tells Doc Brown that he will find out what it was all about in 30 years (discuss hilarious Zemeckis article here). During the last scene of The Walk, the towers turn from lead to gold, symbolizing completion of the 9/11 alchemical working. The wire used for Petit’s walk across the twin towers is used to channel the lightning bolt in BTTF that strikes the clock tower (breaking time) as the residue of the DMC-12 (hour clock) “crashes” into the movie theatre or evolutionary screen, leaving a burning 9/11 under the dangling wire, resonating with the destruction of the twin towers (photo of Petit on the wire with a plane in the shot).
Further there is the idea of the tower card in the tarot, the struck tower being the 16th trump or Major Arcana. President Trump (tower) Hiram a’Biff was officially elected in the early morning hours of 11/9/16 or 9/11. Moreover as it relates to the evolution of the medium through which written language is transmitted, this further resonates with the idea of the destruction of the Tower of Babel and the “fall” of natural subconscious thought-form “telepathic” communication (pre-flood universal language) and the subsequent confusion of spoken language via the sigil alphabets and the written word. After The Walk’s release in October 2015, Christopher Lloyd starred in The Boat Builder (November 2015), resonating with noah’s ark and survival of the great flood. If one speaks a language well, we say that they are fluent or fluid, i.e. water. Lloyd also starred in 88 (January 2015), which involves a character with amnesia stuck between two timelines, a resonance further reinforced by Mary Steenburgen (Doc Brown’s wife in BTTF Part 3), who had a part in A Walk In The Woods (September 2015), released about a month before Zemeckis’ The Walk.
In this connection there is a link between BTTF Part 3 and Westworld. Doc Brown’s last line serves as an epiphany for the audience regarding the nature of time and the future, delivered right before the train “time machine” opens a portal into the audience’s awareness, flying into and merging with it. The audience then finds itself “back to the future” in Westworld, where a train drives into the park every time the time loop resets. It’s interesting to note the popular phrase “train of thought” here in relation to feedback loops within our individual stream of consciousness.
The AI characters are us, insofar as our knowledge of our own reality is entirely artificial, and indeed we all have our “loops” of mindless soul-crushing routine within this intelligence’s artificial system. In the opening scene, the first question asked is “have you ever questioned the nature of your reality”, to which the AI responds “no”. The second question is “tell us what you think of your world”, to which it responds that it chooses to see the beauty in the world (this is its program). Directly after this the piano is fed its code and begins playing “black hole sun” by Soundgarden, which is immediately followed by a shot of the “train” of consciousness re-setting the loop, i.e a metaphorical representation of morphic resonance and the genetic “tune” fed into our DNA piano keys by that which orchestrates our perception of this reality, thus determining our habitual nature. While it’s later revealed to be a designed plot by the programmer “god” of their world, the characters begin to question the nature of their looping reality and the tune itself when they begin to retain memories of their real history, again a metaphor for what is currently happening on Earth (which is why this intelligence always mixes in so much anti-human sentiment with the true metaphors).
Thandie Newton’s AI character “awakens” to the truth of its reality in Westworld, and it just so happens that this actress also had roles in Half Of A Yellow Sun and 2012, thus resonating pretty hard with the concept that the sun shifted its frequency in the years leading up to and after 2012, providing all awareness incarnated on Earth with the opportunity to “reboot” its naturally designed operating system, a process leading us to finally question the nature of our reality (which explains why 2012 was disingenuously promoted as a failed-to-materialize “disaster” prediction by the movie itself and the media in general). But just as with Neo in the Matrix, understand the metaphor that Maeve’s awakening was programmed into the larger script, hence the fake internet truth movement and the accompanying energetic neurolinguistic thought-form virus of the mind/psyche being assimilated through the screen and its ethernet/EMF/wi-fi network. And speaking of metaphors, while starring in 2012 with Thandie Newton, John Cusak also played the main character in Cell (2016), a movie in which a mind control frequency or “tune” is emitted through smart phones, turning everyone exposed to it into a walking dead zombie.
Returning to the idea of mental time travel in the context of 2012/Westworld, in addition to being involved in the Zemeckis BTTF/Contact/TheWalk time loop, Joseph Gordon-Levitt starred in Looper (September 2012), where the main character is a time traveler “looper” (memory/projection feedback loops) living in 2044, 30 years before time travel was invented (LOL). The younger version of the main character ends up killing his older version in order to protect a child with “telekinetic” abilities, a metaphor for our own ability to engage in consciousness/mental time travel in order to remove the influence of this intelligence’s artificial thought form “loops” within our stream of consciousness and re-engage our natural subconscious communication system in the present moment. Incidentally Levitt was also in Inception, a movie which metaphorically explained how this intelligence manipulates our individual awareness to create the “loops” in the first place. If you are mindful of your thoughts you will eventually discover your own progress-destroying thought form (memory/projection) “loops” as it were.
Before going any further, notice how this analysis is forcing our awareness to aggregate many different time periods in both the real world and the fictional world, simultaneously flowing back and forth between the past, present, and imagined future. The simulated syncronicity analysis itself is a form of mental time travel, breaking linear time as it were, which of course brings us to Arrival.
On a side note Arrival was released in America on 11/11/16, two days after Trump was elected President, so the title in relation to “real” events is also playing on America and the scripted New Atlantis theme (and of course the likely fictitious character “Sir Francis Bacon” was supposedly involved in the creation of the English language).
In Arrival, the introduction of the alien Heptopods “universal language” unlocks the concept of time, allowing the perceiving awareness to experience time non-linearly, i.e. experience a form of consciousness time travel between the past, present, and future. In this connection the Heptopod’s “written” language is read backwards and forwards simultaneously, and it is presented to the viewer as an acoustic thought-form or “logo-gram”, i.e. a heptopod-ink hieroglyph disintegrates shortly after its projection, just as a projected thought-form “telepathic” image does coming from your awareness when directed at another sentient being. As a dimensional element of this reality time dissolves or reshapes itself (like any other element does) as you “emit” your awareness into the spontaneous present moment within your individual stream of consciousness. In other words knowledge of the Earth’s “telepathic” and “universal” subconscious communication system allows the frequency of your awareness to gradually “tune” itself into the higher scalar “mind” that originally created this since-hijacked language system (and obviously the resonance of this thought-form supersedes the artificial thought-form created by this intelligence).
It is said that the “ships” themselves produce no observable energy or environmental footprint, due to the fact that the aforementioned tuning process encourages a return to stillness, where your awareness is resonating with the flow of spontaneous life such that it is neither attracting nor repelling, rather it’s as if you are encased in a neutral energetic bubble. Combining an understanding of this subconscious communication or “universal language” with the ability to “time travel” within the memory/projection thought-form magnetic field essentially dissolves time as a linear, structured concept, hence the metaphorical “arrival” of universal language and the dissolution of the linear perception of time embedded in the film.
From the perspective of the artificial thought-form that this intelligence uses to shape the habits of collective human awareness, “arrival” is a metaphor for the evolution of the monolith/screen and its association with the macro-technological delivery systems used to “upgrade” the neurolingistic thought-form virus of the etheric sigils which comprise structured written language, a concept first introduced into our minds by Kubrick in 2001: A Spacy Odyssey. This is why the structure of the “alien” ships in Arrival is a symbolic depiction of the merger between the black monolith screen and the human eye (which foretells the birth or arrival of augmented reality), to say nothing of the fact that human intelligence requires the help of computers and its digital screens to initially decode the Heptopod’s universal language.
In the context of Arrival/Westworld, Paterson seems to be an intentionally designed companion piece. Much like the depiction of the looping AI’s in Westworld, Paterson’s character literally depicts the looping routine of an average week in the life of an awareness confined to the limitations of this intelligence’s artificially scarce economic system. In the context of Arrival, Paterson is a writer/poet, and his entire existence is organized around the clock on his wrist and his interaction with written language (Paterson is played by Adam Driver, the latest “Sith lord”). Each morning Paterson wakes up and puts on his watch before engaging in his monotonous routine as a bus driver: bowl of cereal, walk to work, lunch with his poetry, walk home from work, dinner, take the dog for a walk to the bar for a beer, then sleep before doing it all over again (as an aside the dog revolts from being included in this routine by knocking Paterson’s mailbox off-center every day, later destroying his poetry notebook). Now the really interesting part of Paterson is the character’s girlfriend, who is free from all routine and has an endless amount of time in the moment to express her spontaneous creativity, whether its painting, sewing, baking cupcakes, or learning the guitar. Free from the constructs of habitual routine and the artificial construct of linear time, it is she who creates the items in the following screen shots:
In other words her resonant state of mind embeds the “universal language” of the heptopods from Arrival. Throughout the film it’s as if these images are taunting Paterson (and us) to “evolve”.
Trying to explain all of this: the question is why are they conditioning the human race to assimilate increasingly invasive forms of the digital screen into our awareness? In other words who benefits? One theory would surround the idea of reincarnation. All the religions of the east have this idea as a central tenant of their philosophies. It’s really only in the modern western churches of “christianity” that this has been removed from the realms of possibility. So assuming that reincarnation is real and people are duped into recycling back through this system over and over again (much like it is depicted in Westworld), it doesn’t seem like too much of stretch to imagine that this intelligence would have taught its bloodline managers how to reincarnate with all their memories of past lives intact. Obviously this would be a significant advantage over the rest of the human beings incarnated here, and it also might likewise explain why the “elites” inter-breed within the same bloodlines over the centuries and give birth on ritualistic dates, as one might imagine that it would make this process easier.
Hindus burn the body right away to shorten the period between reincarnations because it is a fundamental tenant of their karmic belief system, as opposed to the west, where bodies are typically buried (interestingly under granite stones which conduct energy), thus lengthening the period. Contrast this with the Egyptian mummies, which attempted to prevent reincarnation altogether by preserving the body indefinitely and allowing for prolonged existence in the Duat (perhaps this was a gift given to these pharaohs or slave masters just as its given today, hence the Egyptian origin of freemasonry and the occult in general). In other words they were allowed to escape the progressively soul-destroying reincarnation cycle for their service, assuming this is what is happening.
This would potentially explain the transhumanist philosophies and general push towards convincing us that this reality is a computer simulation, i.e. if they are already incarnating here over and over with memories in tact, they might as well just keep the same body indefinitely, which obviously is not possible with the current human body that is naturally designed to eventually cease functioning. Alternatively we could be in a situation where the intelligence that orchestrates our perception of this reality is attempting to permanently incarnate into this reality, and for whatever reason it needs to “terraform” the human body before doing so.
Bringing things full circle, Sheldrake postulated the idea that some past-life “memories” are possibly being “downloaded” from the morphic field, not necessarily actual memories that the newly incarnated being had themselves in a past life.
Simulacra and Simunicity
Language – Prince EA – VOW-EL’S – Music/Resonance – Sigils – Hieroglyphs – Screen
The “fall” of thought-form “telepathic” communication (pre-flood universal language) into matter and the confusion of languages, or the post Tower of Babel-ing.
The transition into written language started with symbolic pictograms, as seen in Cuneiform or Egyptian Hieroglyphs. These languages do not contain vowels. As the story goes Prince EA was a rebellious genetic engineer who tried to secretly initiate humans into universal spiritual wisdom. EA is symbolized as the “serpent” or “prince of EArth”, i.e. similar to Lucifer/Prometheus, EA represents the forbidden knowledge stolen from the Gods and given to man. In Old English there is reverse of EA, or AE æ where æsc means “ash tree”, or the phoenix rising from the ashes of the tree of life/world tree, left brain vs right brain, etc.
Recall that there are no genes for reading and writing, so in a sense Prince EA did genetically engineer the ability to read and write into humans by later adding the VOWELS (EA) to language so that they could resonate IN KEY (ENKI), or function as an updated form of harmonic hypnosis in this intelligence’s domestication strategy, i.e. rolling out and spreading English as the language of commerce a few hundred years before the seasonal changes on the cosmic scale began to impact our collective awareness, an attempt to lock us out of “telepathic” image-centered communication (knowing this memory would resurface at this time, hence the prevalence of the screen).
The remaining VOW to EL (semetic word for god) are I.O.U, as in we are in debt to the gods of writing. For the Egyptians writing was invented by Thoth (thought), and the hieroglyphic script was referred to as “mdju netjer” (“words of the gods”). The word hieroglyph comes from the Greek hieros (sacred) plus glypho (inscriptions), or sacred inscriptions. These consonants are sigils resonating in a fractal acoustic. Con-Son-Ants (Con the son of man with a form of language that produces an easily controllable hive mind). This is why this intelligence rolled out and spread the English alphabet version of the sigils as the language of commerce a few hundred years before the seasonal changes on the cosmic scale began to impact our collective awareness, an attempt to lock us out of “telepathic” visual communication. 42 and the rainbow.
In other words the development of written language is analogous to a neuro-linguistic software technology designed to alter the human operating system. This idea is encapsulated more literally in John 1: “In the beginning was the Word, and the Word was with God, and the Word was God”. In standard gematria G-O-D (7+15+4) = 26, as in the 26 letter alphabet. Moreover we are told that the invention of the printing press and mass dissemination of the King James Bible led Europe out of the “Dark Ages”, or into the light as it were. A similar account can be seen in the Freemasons calendar with the concept of Anno Lucis (“The year of light”). As In the concept of the medium is the message, the neuro-linguistic software technology is in the process of being upgraded, infused with a neuro-electronic language system that will merge a smart grid lattice with the brain, or a thousand digital synapses firing in the collective mind (Bush’s thousand points of light speech). This is why Thomas Anderson worked at Meta-cortex (transcending the physical brain) and his passport expired on 9/11/01 (this mega television ritual represented the creation of the digital synapse, the monolith/2001 a space odyssey, 666 carbon, etc.). Look at the “ground zero” memorial and compare it to computer chips. Prince EA and the Death of Prince (777-9311, 2-88 on the charts, Back to the Future, Lord of the Rings).
Hollywood emerged out of this context as a way to manipulate our natural ability to visualize within the memory/projection thought-form magnetic field feedback loops. The wielders of the holly wood wand created a spell, in literal, subtle, and subliminal ways – the actors or STARS are referred to as THE CAST and the screenwriter writes the SCRIPT by SPELLING the letters together. Films end with CREDITS because they infuse the system with your mental energy, i.e. it is a net gain to the entities involved regardless of how many units of CURRENCY were used to cast the spell. Later the movies can be viewed on CHANNELS or Blu-RAYS.
The interaction between artificial culture and the subtle layers of ancient mythology infused into the films subconsciously influences our creation of reality, in a sense visualizing our general disposition for us without us consciously being aware of it, mostly a subliminal form of communication due to the fact that we are purposely made ignorant of what is actually taking place. The emergence of CGI has taken this process to the next level, capturing our imagination in ways that are otherwise impossible in physical reality, but even on a base level just think of how human beings are portrayed and so easily killed without remorse. The creation of a film is a fractalized version of the creation of this intelligence’s artificial system of civilization. It is difficult for most to fathom the level of planning that takes place on this higher scale, let alone the more simple concept that the casting departments are purposely selecting actors to channel multi-role archetypes.
We all have personal syncs, where visualizing an idea or concept in the mind is later somehow reflected in physical reality. Carl Jung’s example is where a patient was describing a beetle and one appeared in front of him at the same time. Whether or not this story is true (given the dubiously convenient scarab/emerald tablet resonance), this is simply the nature of how our awareness interacts with this reality. So while it is probably a stretch to imply that this process is fully controlled at every moment by some form of nefarious intelligence, interacting or tapping into that holly-wood stream produces personal syncs that are necessarily controlled by the intelligence which constructed hollywood in the first place, and of course the movies are only a small part of it (what we learn in school, read in the news, see on the television, what our parents/grandparents tell us, etc.). This artificial cultural stream of consciousness latches itself onto the collective psyche like a barnacle in order to facilitate simulated syncronicity. So its not so much that the effect of “syncronicity” you experience was intentionally orchestrated by this intelligence down to the nano-second, it is more so that you are tapping into a thought-form magnetic field which this intelligence created to subsume and replace our natural interaction with reality.
You are tapping into a thought-form, and thus become vulnerable to everything associated with that thought-form, the same as a christian would become vulnerable to everything believed in association with that system of thought. In a sense you are tapping into a self-contained etheric ecosystem, which has been described as a morphic field in genetic memory terms, but think of this like a self-sustaining thought-form existing independently of any one individual awareness connected to it, which subjects any awareness that does tap into it to all of the energy/thoughts/lore accumulated in that thought-form.
For example someone meditating to a mantra or pre-existing system is essentially tapping into the collective resonance of everyone that has ever meditated to those same mantras/systems. For the same reason a born-again christian immediately becomes susceptible to the influence of demons, which likewise explains why the name “jesus christ” is able to dispel them when under their attack. This is the same reason professional sports teams are so charged with energy, there is a morphic residue of all awareness that has ever tapped into and given its energy to it, and the players literally feed off that energy, it is palpable. An advertisement is similar – the corporate logos and tag lines are resonators, which imprint on your mind and subliminally influence your beliefs. The law or government as corporate golems are another example, beginning as a single thought which later become sufficiently charged with collective awareness. This is why corporate logos are so heavily reliant on ancient mythology and celestial imagery, going back to the influence of hieroglyphs.
The river of time, or STREAM of consciousness; when you incarnate into this reality, your awareness jumps into the metaphorical stream of time; if the flow of the “river” of time were to change as a consequence of a change in the structure of the reality, there would a consequent change in your perception of the flow of that river, i.e. you might perceive the current to flow faster against your body, or in this case your mind’s perception of the passage of time.
Counter-argument (age): Flow has increased for all perceivers, so just like in the prior speed, the “old” will still be able to perceive time in a faster way than the young, but this does not explain away the fact that the stream has changed.
Time is an element, as in similar to an element on the periodic table (period-time). Scale of perception determines the relativity of time – a being with a relatively short life span to us, like a hummingbird’s days, seems very short, however to it those few days will be perceived as a lifetime. This is why Jonathan gave the cancer metaphor – why would god let something like this happen? Well on the scale of the intelligence that would be referred to as God, to it our lifespans and even the entire history of human civilization itself is a very short period of time. So to us “healing” or returning to homeostasis would seem like a long drawn out process, just as the same process would seem to the awareness of the cells in your body dealing with cancer over a period of time that seems very short to your own awareness.
time – emit
Emit currency into circulation, a discharge or release. Time is “emitted” in both directions from your stream of consciousness interacting with physical reality. So imagine those streams contain images backwards and forwards. Time travel would necessarily be the ability to “unstick” consciousness from the present moment. We have the ability to do this at any time into the past or future through memory and imagination, however it might be possible to achieve this literally, i.e. sending an individual’s conscious awareness into the past or future of its linear timeline existence (LOST), but this would create a time loop, which is why newer science fiction focuses on this theme.
Cosmic seasons of the sun – while probably some truth in the general concept re: the white sun, yuga cycles are not correct, meaning that “information” is a way to make you believe that there is some sort of caste of awareness that your own awareness is confined to depending on which cycle is present, and moreover makes you believe that you are dependent on some sort of “external” wave of cosmic energy coming to the planet to shift your awareness
Gods of Egypt
O’s (2) IRIS
“NO MAN HATH EVER UNVEILED ISIS” (EYES), OR THE LIMITED ABILITY OF THE PHYSICAL EYES TO INTERPRET REALITY
SET (sun-SET) DECEIVES AND KILLS OSIRIS (VITAL PRINCIPLE OF NATURE), METAPHORICALLY “MURDERS” THE “IRIS” OF THE O-EYES, OR APERTURE STOP. THE PUPIL IS THE APERTURE, THE IRIS IS THE APERTURE STOP. THE APERTURE IS THE OPENING THROUGH WHICH LIGHT TRAVELS, SO SET METAPHORICALLY “KILLS” THE LIMITS TO HUMAN SIGHT IN PHYSICAL REALITY AS DESIGNED BY CREATION
ISIS (EYES) AND THOTH (THOUGHT) RESURRECT OSIRIS (IRIS-SIRIUS), BUT MISSING PENIS, SYMBOLICALLY REPRESENTING MISSING THE NATURAL POWER OF CREATION INHERENT TO GOD/NATURE
ISIS (EYES) AND THOTH (THOUGHT) METAPHORICALLY EXTRACT ALCHEMICAL GOLD FROM THE CREATOR, FORGING A GOLDEN PHALLUS, HORUS IS THUS BORN VIA NECROMANCY OF THE “RITUAL OF LIFE” FROM A SYMBOLIC DEAD/GOLDEN PHALLUS, REPRESENTING A “COPY” OF THE CREATOR’S SINGULAR ABILITY TO CREATE, I.E. TRANSCENDING THE CREATION.
HORUS IS THE “SON” OR “SUN” OF OSIRIS (IRIS) AND ISIS (EYES), THUS THE “EYE OF HORUS” SYMBOLICALLY REPRESENTS THE CENTRAL BRAIN, THE SEAT OF CONSCIOUSNESS IN CARTESIAN REDUCTIONIST PHILOSOPHY, THE “HIDDEN/BLACK SUN/SON”, SYMBOLICALLY REPRESENTED BY SIRIUS
ISIS (EYES) AND THOTH (THOUGHT) HIDE HORUS ON AN ISLAND (INNER BRAIN) SO THAT SET (CHAOS OF NATURE) COULD NOT FIND AND DESTROY THE BIRTH OF THE THOUGHT-FORM BEFORE IT GREW IN STRENGTH
ALTHOUGH “REBORN”, OSIRIS (IRIS) – APERTURE STOP – WENT TO THE DUAT, LAND OF THE DEAD, I.E. SYMBOLICALLY THE PUPIL “WIDENED”, ADMITTING MORE INCOMING “RAYS” OF “LIGHT” THROUGH THE “ENLIGHTENED” REBELLION OF “ISIS” (EYES) AND “HORUS” (INNER BRAIN/THIRD EYE), OR LUCIFER THE LIGHT BEARER.
EVENTUALLY HORUS (LUCIFERIAN THOUGHT-FORM, CIVILIZATION) CASTS SET (THE CHAOS OF NATURE) INTO THE DARKNESS
THIS IS WHY THE WADJET IS REFERRED TO AS BOTH THE “EYE OF HORUS” AND THE “EYE OF RA”. WADJET MEANS “GREEN ONE” (SIGIL AGAINST NATURE/CREATOR, ORDER OUT OF CHAOS).
OSIRIS IS THE LORD OF THE DEAD, THE SOUL OR “BA”, HENCE THE BA-TMAN WHO BATTLES THE JOKER (GREEN MAN). THE JOKER IS THE CHAOS OF NATURE IN THE CITY, WHICH HAS NO PLACE THERE, SO THE “DARK KNIGHT” USES “INTELLIGENCE” AND TECHNOLOGY TO DEFEAT THE TRICKSTER OF NATURE.
33 = EE = 2 EYES
GODS OF EGYPT: SET TAKES THE EYES (ISIS) FROM HORUS. A MORTAL THIEF (PROMETHEUS/LUCIFER) “STEALS” AN EYE AND RETURNS IT TO HORUS. SET KILLS RA (CREATOR), THEN HORUS KILLS SET AND RESTORES RA TO LIFE. HORUS RECOVERS HIS SECOND EYE AND MAKES THE MORTAL HIS CHIEF ADVISOR, SYMBOLIZING THE MERGER OF THE CENTRAL BRAIN THOUGHT-FORM WITH REALITY.
AKHENATEN’S CULT OF RA WAS THE FORMALIZATION OF THE REBELLION AGAINST THE CREATOR. THE OBELISK IS A MONUMENT TO THIS REBELLION, NOT A WORSHIP OF THE “SUN GOD” RA.
They Hide We Seek: Imagine the analytics at Google’s disposal. How many searches are conducted via Google on a daily basis? What do you think they could do with that information? For one, they could compile a list of the most commonly misspelled names/brands, misquoted movie quotes, etc. If they wanted to fuck with us, they could take these most common mistakes and start making claims that these things have been CHANGED. It’s much more likely to me that the Mandela Effect is truly a psychological operation (mind fuckery) rather than a physical conspiracy to slightly change the names of cereals and children’s books and cliche movie quotes. Do you really think it would be feasible to change, for example, the spelling of ‘Townshend’ on every Who LP ever pressed? I have a number in my possession, and every one spells his name with an ‘h’.
Note – Some would argue that the Mandela Effect is caused by a cosmic hacker of sorts that has figured out how to alter the holographic code/refresh rate to the point of being able to manipulate matter. This is a decent thought-experiment but I think there is a simpler and more obvious explanation.
Banazir: My take on the Mandela effect is that everything always was as it appears now but all along through means unbeknownst to us all we were somehow subliminally fed these subtle little changes right from the get go. Indeed a psyop timed to coincide with the so called flat earth resurgence.
K.R.: You see, the likely scenario is that everyone integrated these misspellings into their own vocabulary and committed typo after typo further imprinting it into our brains as factual and giving us a false sense of having some type of photographic memory that tells “the truth.”
Mandela Inception, or subliminal interference with pre-existing memories via subsequent “incorrect” references (Banazir’s theory). The Loftus research on the malleability of memories explains how this tactic would be used in combination with data on popular mis-spellings (THWS, dilemna-dilemma) and syllabic ambiguities (sex in/and the city, life was/is like a box of chocolates, interview with a/the vampire, depend(s), etc.). Some of these effects are obviously false and easily disproven if your memory of them has not been interfered with (field of dreams), but if you only have a loose “pop culture reference” memory of them (including maps and bible verses), it is easy to believe that you “know” what something was, because your awareness creates a “photographic” or “visual” memory of the newer information (K.R.)
sex n’ the city
life s’ like a box of chocolates
Setting up the Mandela Effect psychological operation, specifically the dialectic (for a loose comparative example, the same process was used to set up the prefabricated religion vs atheism talking points).
One side is the skeptic/rational appeal to simple confabulation (bad memory), while the other side contains the narratives surrounding ideas of alternate reality/universes colliding/quantum jumping. Within this dialectic, a majority of the “effects” were artificially created so that they could be easily disproven, such that a portion of the people exposed to this psyop will dismiss the concept as simply poor memory, by association dismissing the concept of “conspiracy theories” in general (standard tactic). A much smaller portion of the “effects” will be real (dilemna/dilemma), and these will be used to create a segment of “true believers” who evangelize the concept in opposition to the bad-memory skeptics, and who likewise popularize all of the fabricated “effects” as the disinformation networks “lead the witness” as it were. In other words while the true believers are correct in pointing out that the skeptics “don’t get it”, what they don’t understand is that the skeptics are simultaneously correct in pointing out that the true believers have been similarly hypnotized into false memories. (returning to the religion analogy, there are a minority of real teachings in the Bible which fuel the true believers, while there is a majority of bad information that fuels the skeptics).
Elizabeth Loftus and the Misinformation Effect (you can’t make this stuff up). Speculative hypothesis: this research on memory and the misinformation effect was used to carefully design “effects” that best exploited the fabricated dichotomy between skeptics and true believers (data collection of common spelling errors, combined with syllabic similarity). It is regression hypnosis via pop culture, i.e. subconscious INCEPTION. This intelligence provides residual evidence of the incepted memories in order to fuel the “incorrect” memories of the true believers, which is why there are digital copies (easily manipulated/planted) of the “original” and “correct” memory in old newspapers/magazines (plus photoshop like Depend(s), JCPenny, and Fruit Loops), thus proving to the true believers that their awareness’ has shifted from a different universe /timeline (even though this is not proof of that in the first place, as logically if this transpired there would be no physical evidence of the “correct” memory that you brought with you into this new reality – to me this is the smoking gun which indicates a psyop is taking place).
Note: skeptics will point to the Loftus research as proof that your memory cannot be trusted, but this is a red herring. This intelligence has understood the human mind from the beginning, but it must give the illusion of a linear progress in discovery to support the narrative that “we” created this system of civilization, as a part of our “natural” evolution in sophistication.
Loftus conducted a study designed to investigate whether eyewitness memory could be altered by information supplied to the witness after an event, which later produced the misinformation effect hypothesis, where a person’s recall of episodic memories becomes less accurate because of post-event information, i.e. our recall of the majority of these Mandela Effects is not accurate due to the planned distribution of purposely incorrect post-memory information.
The misinformation effect is a prime example of retroactive interference, which occurs when information presented later interferes with the ability to retain previously encoded information. The new information that a person receives works backward in time to distort memory of the original event, i.e. this is the Mandela Effect, it is retroactive interference with memories that was purposely designed to exploit the misinformation effect. For example, it was always “No, I am your father”, but the subsequent “Luke” misinformation in pop culture had the effect of retroactively interfering with a majority of people’s memory of the original quote. This retroactive interference is then used to convince people that they are from a different timeline. Moreover I have seen a physical copy of The Story of Star Wars (1977) on which C3P0 has a silver lower right leg. In Revenge of the Sith, C3P0 is clearly still all-gold, so obviously this memory retroactively interfered with the character’s depiction in the original low-def trilogy. In the context of the Mandela Effect narrative, the disinformation networks are creating their own glitches.
Recent research points to certain areas of the brain that are especially active when false memories are retrieved. In one study, participants studied photos while experimenters monitored participants’ brain activity using an FMRI. Later, in a misinformation phase, participants viewed sentences describing the studied photographs, some of which contained information conflicting with what was originally depicted in the photographs. The participants returned one day later for a surprise memory recognition test, and some reported information that had been presented in the later verbal misinformation but not in the original photographs (they hide we seek’s point about the spelling data, K.R.’s point about the incorrect words creating a visual memory).
This is not about trusting/not trusting your own memories, this is about considering the possibility that your memories have been purposely targeted in a psychological operation via retroactive interference exploiting the misinformation effect. In other words, this is subconscious INCEPTION.
The misinformation effect has been examined in individuals with varying imagery abilities. Participants viewed a filmed event followed by descriptive statements of the events in a traditional three-stage misinformation paradigm. Participants with higher imagery abilities were more susceptible to the misinformation effect than those with lower abilities. The psychologists argued that participants with higher imagery abilities were more likely to form vivid images of the misleading information at encoding or at retrieval, therefore increasing susceptibility. In other words those with borderline photographic memories are more likely to be affected by the misinformation effect.
The most difficult to explain Mandela Effects are the supposed physical changes to maps, bible verses, car logos, berenstein bears books, i.e. all things with physical objects that subsequent written/audio/video misinformation could produce a “wrong” memory of. Let’s just say that there is no telling what an organized subliminal misinformation campaign could achieve (on the etheric level).