Real "Two Reel"

An explanation of the VALIS Loop, in 3d called The Cube of Space and in greater magnitude called the HyperCube and MetaCube.  Although this complete Loop passes over many twists and turns in a single revolution through Cube, HyperCube and MetaCube, it is easiest to understand in 2d, as a single loop of tape that circles endlessly around two reels, like the kind of reels found on a reel to reel tape deck or movie projector, except in this case the loop is closed--the two ends of the loop are attached.

So...

VALIS, by my logic, is an eternal magnetic loop which contains the entirety of history and all of its elements--the mythical; cosmological; superficially natural and architectural.  It also houses the identity of a fixed number of personalities.  Often, these personalities are referred to as souls.  The term of soul is confounding, as it implies the mysterious presence of both a greater power and a less defineable shape than is given to the personality.  Personality is usually expressed as the physical reality of the body and the abstract principles that arise from consciousness.  The soul is the personality--no more or less.  It is really quite simple, when one thinks about it.

The multiplicity of souls on Earth, as represented by a fluctuating world population, is a bit of an illusion.  This illusion explains perfectly both the phenomenon of reincarnation and the more difficult phenomenon of the doppelganger.

The first step necessary to perceive the operation of the Loop is to realize that one is immortal.  This may seem silly at first, but is easy to understand when one truly meditates upon nothingness.  What becomes clear is that the void of nothingness is a legitimate vacuum.  The complete dissolution of one's reality is possible only if one does not exist, has not existed and will not exist.  No material essence or abstract principle can enter into nothingness, and thus neither the body nor the stream of consciousness are interrupted by death, any more than they are interrupted by going to sleep.  To put it in the words of Krishna, from The Bhagvad Gita: "...all that lives, lives forever...".  If one is alive and conscious, for however small a stitch in time, one is instantly and permanently immortal.  This is a logical principle, not a spiritual abstraction.

When one perceives the death of another, they in fact witness as the other rounds a bend in the loop.  We lose others and others lose us, for a time, but at no time is one out of connection to one's personality, which is the twin magnetic coils of one's material construct and one's abstract consciousness.  This model is enhanced when one realizes that the material world is an abstraction too.  The concept of the material abstraction is a fascination down through the ages to both Mystics and Scientists alike, but few make the simple connection that these phenomena are in fact indicative of a singular technology.  The purpose of this technology is to create the amnesia of false mortality, or more simply, to create the illusion of death.

Nixon's secret "tapes" were recorded on a reel to reel deck.

In the Watergate era, sci-fi author Phillip K. Dick reported a vision.  What he learned from this vision was that sometime around 70 or 80 A.D. a group of "Jewish Alchemists" had instituted a method of looping time back into itself on a sort of infinite historical playlist.  The reason for this action was to forestall the return of Christ after the destruction of Solomon's Temple by the Romans.  According to Dick, the Return of Christ is the promised end to a system of Sacrificial Agriculture originating with Cain, from the Book of Genesis, who is the Father of Agriculture, and ratified by Enoch, son of Cain, who is the Father of Satanic Alchemical Magick.  These two systems (Agriculture and Magick) are the basis for the entirety of human social commerce and all the woe, inequality and royalty that comes with it.  The return of Christ threatens to shatter this system which is so prosperous to an elite class of dignitaries.

But Phillip K. Dick was only partly right.  Christ and his astonishing sacrifice are themselves a re-ordered version of previous passing of the Loop in one complete revolution.  There is no way to calculate just how many times the Loop has circulated, which is a feature of the program itself, because a connection to an original moment or artifact can not exist inside the Loop without being instantly and completely destructive.  The mere fact that the Loop exists at all indicates that the disconnection from the original is an absolute success.

Here is what is known.

The Loop is roughly 2000 Solar Years in Length.  The complete Length is about 2200 years, but there is an overlap of the media. The lives of personalities run lengthwise along the tape, stacked next to each other like the tracks on an audio tape, all personalities appearing in various places on the 2000 year cycle, some appearing more frequently than others, circulating eternally.  During periods in which the Loop overlap is in play, the intensity of feedback creates large scale pattern recognition among those imprisoned in the Loop.  This is troublesome because too much internal recognition of the system operations threaten an unmanageable level of distortion--distortion that could cause a glitch failure of the media and even erasure of the program code.

The Alchemist's response to the problem is the simple technique of mystical distraction, which trends the person down a false trail of amnesia.  Here is how it works: at the beginning of  the 2000 year cycle, an increasing refinement of media is unraveled, and each refinement of media entrains a deeper level of hypnotic amnesia.  At the moment the overlap begins, the amnesia is purposefully unleashed by the use of a hypnotic cue.  Dick called this an-amnesia, which means coming out of amnesia.  Watergate was a precursor, but in this particular cycle, the cue in question is 9/11, the first completely global media event.  In the wake of this rude awakening, personalities are gently ushered to find answers in a variety of cultural sub-groups, all of which exclude the necessary processes of internal doubt and internal criticism.  The number of social sub-groups of this phenomena are too numerous to count, too subtle to be captured in any one explanation, and tendril into every nook and cranny of human interest. In the present cycle, groups fall upon lines that are mainly political, nationalist, race or gender based, and religious.  For personalities of a more intellectual or marginal nature, the groups offered run the gamut of New Spiritualism, New Atheism, and New Science, Truthers, Synchromystics, and various art movements.

What all of these sub-cultures have in common is that each promises the doorway to a new world through the proper appreciation of a set of mystical principles.  As explained in Future Schlock, mysticism is very simply the insinuation that there is a better tomorrow available to right thinking people.  It doesn't matter whether or not the person in question accepts a mystical reality or not.  They must merely be focused on a future reality.  Through this process the person begins to imagine a new and magical future world, a world of knowledge, transformation and power, and this new consciousness is proffered at the exact moment the Loop overlap is in play, when the person begins to remember that they have always been immortal.

Facing Eastward, the foot-soldiers of Alchemy stand outside the Western Wall, beating back the promised freedoms of non-hierarchical and non- cyclical Time.

Of course, in a world where everyone is immortal, and knows they are immortal, future based promises become utterly meaningless.  This is the standstill of commerce symbolized when Christ riots in the house of the money changers, who ply their trade within the Temple.  Of course, the Temple is not fallen, first, because the Western Wall stands to this day (a fact crucial to the operations of Dick's so-called Alchemists), but also because the completed Temple lives, planted like a demon seed in the minds of everyone who yearns for the future.  A future also known as The Kingdom of God--which turns out to be a real estate venture.  It doesn't matter if you are the coldest of cold-hearted atheist, all American Apple Pie Christian, New Ager or Islamic Moderate.  If you entrain upon the future, if you abandon your ego to a better tomorrow, you willingly forget who you really are: a naturally immortal consciousness, unique and somehow equal to all, unbound by any greater principle or doctrine than the self.

Without the mystic principle of futurism which is the critical technique of mystic alchemy, an elite class of dominator would become powerless, not because persons would themselves become a force of power to oppose this dominance, but because persons would become aware that there is no higher power to be either wielded against oneself or achieved by oneself.

In a world full of immortals who know they are immortal, everyone is equally powerless.

Future Schlock

In a recent discussion on The Kitchen Sink, I was asked to clarify my perception of the Time Loop that is sometimes called The Cube of Space or The VALIS Loop--a technological system that is the lasting foundation of all time based phenomena.

It is my contention that within this Loop, the principles categorized as sacred, magickal, and mystically synchronous are used to veil a mechanism that is the exact source of all human conflict.  I do not propose a way out of the Loop, but rather it is my goal to firmly illustrate how a set of  cherished philosophical notions may not be as hakuna matata as the sales pitch promises. The exact dignity of these values remain to one's personal discretion, but I am going balls-to-the-walls here, so some offense may be experienced.

Do not adjust your set.

  

***

The question of human suffering ought to dog every philosopher like the Hounds of Hell on a Heyday.  It is sometimes possible to alleviate one's own suffering, even if for only a moment, and to do so is fine, if somewhat tricky.  It is also possible, and more and more common these days, to celebrate a personal perspective as the doorway to a better world; a world with at least less suffering than the present world; a world represented as the pathway to wisdom.  This insidious practice is without exception posed in the terms of mystical values.  This idea must be unpacked and, one would hope, remain unpacked and revealed as meaningless.

Wisdom...where the fuck are you?

The term mystic is shamelessly oblique.  The surest way to shatter the visage of the mystic pattern is to recognize that it is always based upon and must be based upon a future state of existence.  The mystic is always telling one of what one does not know yet needs to know, or telling one what one must do but has yet not done. This technique is utilized at every level of human interest: health and fitness; physical beauty; intelligence; spirituality; politics and social intercourse; sex, brotherhood and love.  The list goes on.  The mystic insinuates and then finally hammers home that there is some sort of greater knowledge or truth that is available to the wise that must be assimilated for any real apprehension and appreciation of reality.  More often than not, this charge also demands that mystic wisdom is a necessary prerequisite for survival and salvation, although this element is usually cryptically embedded into the material.

All concepts of growth, improvement, and spirituality are rooted to these mystical values, and are meaningless unless posed as the antidote to good old-fashioned suffering and existential doubt.  It isn't a leap to see how these same false principles rise like a yeast from the level of prophetic ranting and up into art, religious and social observance, government, and finally the inevitable and desired result of state sanctified sacrificial cannibalism.  It's called "Christmas" ("insert your own mythical misnomer").

Now, there are readers, star gazers, dreamers, who may think themselves immune to the more standard expressions of this system, such as Christmas, Religion, Government and the like.  Here is a simple test.  If one expresses that there is any better world or any wisdom or enlightenment of spirit or body, by any process, scientific or sacred, in any place or at any time, then one is altogether flummoxed by the same trumped-up system that brought us Scientology, Amway, Slim Fast, The Green Movement, the Front Loading Washer/Dryer Combo and the Roman Catholic Church.  And let's throw in Jewish Mysticism and Gypsy Tarot for good measure.

If you buy--even a tittle-- into the myth of wisdom and socio-spiritual betterment, you are a scurvy Monotheist Andalusian. See your family doctor at once.

Think of it this way.  If one is climbing a mountain, one is always trying to reach the top.  This same exercise is that of Moses seeking Jehovah, not to kill the almighty Mo-Fo, but to receive his blessing.  Moses seeks that his dominion, his right to law, is ratified in the light of God's wisdom.  The claim of mystic wisdom can have no other purpose than a Royal Mandate, because all purpose is relegated to the interplay between human beings.  Purpose can not exist in a social vacuum.  Moses wants to talk to Wisdom (God) so that he can rule as a god himself.  All mystic pretensions are the same process, regardless of their scale.

On the other hand, if the mountain is topless, then there is nowhere to go, either up or down, better or worse, wiser or more foolish.  If the mountain is topless (and by its inverted nature also bottomless), then we are all stuck on the same steep hill, and mysticism is at best stupendously irrelevant and more commonly seriously fucking annoying-- a source of unnecessary and amplified suffering.

Here is the basic equation so far.

1.  Human Suffering is Ordinary and Inescapable.
2.  Mysticism in all of its forms advertises the anodyne to Suffering.
3.  Mystic Systems impose social and psychic pressure to the betterment and growth of humanity at large.
4.  These Systems are naturally hierarchical and therefore enforce elitism and class-ism of every description.
5.  These false categories fulminate into neurosis on the personal level and pointless social conflict everywhere else.

No one "gets me" anymore--fuckin' Jung

Fact is, all of this was expressed neatly by Freud, who in turn warned his chosen successor, Jung, that mysticism was a dead end street, not because the mystically synchronous was a delusion, but because whatever it is that these phenomena illustrate, they do absolutely nothing to ameliorate the human condition.  Later, Freud feared that his ideas would be warped into a widget of mass education, and that the mystic age would be an age of hyper-anxiety.  These ideas are framed in Crony's A Dangerous Method, sub textually, of course.

I wouldn't agree with Freud, at least not exactly, because I think that the spectral feedback created by this mystic hubbub is asking each and every one of us some questions that may be critical.  What do I mean?  I'll get there in a bit.

***

The school of Synchromystic is an especially problematic manifestation.  To examine why this is so, we need to look in on media maven and black widow Oprah Winfrey.

Back in the day, and until quite recently, anyone with an opinion who could also drool could get on the Oprah Show.  Now sure, it is only natural that as Oprah gets a bit more powerful, she would also class up her act a bit.  No conspiracy there.  But the fact that Winfrey has been completely silent on the seriously fascinating documentation of 9/11 anomalies is interesting to say the least. Her silence can not be attributed to any sort of "wacko factor" she now wishes to avoid.  Serious and accredited scholars have raised hard hitting questions about what can be accurate called the most compelling event in media history, but not a peep from histories most sensational media whore?  It don't make any sense, grandma!

Yes, Mein Oprah!

A quick rebuttal might be that Oprah is either under the auspices of a main stream media black out or even has a hand in some greater conspiracy, so her silence on the matter of 9/11 would be therefore quite normal.  But what Oprah did discuss, almost exclusively on her show and for years immediately after 9/11, is the New Age of Spiritual Improvement by way of first Chopra and then her own hand picked little toadie, Eckhart Tolle. This fact is critical in cross comparison to the synchromystic school. 

In the early days of so-called synchromystic (and I know, because I was there, hooked like a space-junkie) pioneer Jake Kotze comes across like a run-of-the-mill old-school Fortean investigator, albeit maybe the most brilliant of them all.  Simply, the early work of megaforce Kotze appeals to the conspiracy theorist looking for answers about 9/11.  Pretty soon, Kotze gets into the more occult stuff and then transitions like a pro into a hypnotic entrainment on the "flowering of consciousness", after the mantra of Tolle.  The occult stuff is good, even essential for a real down and dirty take on the goings on going around, and this is why the switch to sales pitch works so damn smooth.  

Kotze is one smart little snot-ze!  It's hard not to love him.

Consider that as a heavyweight alternative researcher of his talent, Kotze could have--should have--examined 9/11 and synchronous anomalies like a lion with roid rage, not a bliss ninny.  Not only does he skirt the question of ordinary "non-magical" media complicity in 9/11.  At the same time he vigorously promotes the cheeseball philosophy of media super-stars Winfrey/Tolle, and in such a way as to tie in this so-called "flowering of consciousness" directly to the wonderful marvelous Stargate Leap called 9/11.

Yay! 

I am not saying that he is incumbent to call for justice, such is not the role of the investigator, but Kotze and the mystery school over which he presides with an iron fist is surely busted.  There can be little doubt that Synchromystic has become a hierarchy, a religion, with Kotze himself as its Papal Office and final editor.  In the search for truth, synchromystic is the perfect blind alley.

If you disagree with this assessment, you are probably somewhere windy right now, sipping Merlot with Robin Tunney and some hipsters, waiting for the sun to shine on Winnipeg.  Forget the fact that real people got murdered, and are being murdered still, and for no more than a business incentive.  Forget it, and pass dee dutchie on dee left hand side. 

***

Here, a certain paradox must be forded.  To instruct another of the inadequacy and nasty side-effects of mysticism, one implies one's own type of improvement or betterment upon the system.  This paradox is disproved when we look at the aspects of methodology and intention.

Mystic poet William Butler Yeats warns "...the road to hell is paved with good intention...".  No statement could be more mystical, more mystifying or more completely full of fucking shit.  Of course, Yeats, like all mystics is a businessman, and every businessman is an inbred liar.  This is a necessary trait, because the businessman sells the future, sells what his buyer does not need.  No one gives up from the present into the future unless they are afraid it is necessary for their happiness or survival.  To nurture this fear is the ardor of both businessmen and mystic alike, and its intention is the source of all pagan commerce, war and polite society.

On the other hand, the person repudiates both business and mystique.  He or she is concerned with the true NOW.  Not the phony spiritual "now" state that is promised to expand like nirvana backward and forward into mystic stargate space, but the ordinary now, like "...where is my remote control...", "...is there any vodka left...", or "...geez friend, you look a little under the weather, how can I avoid helping you...?".  Of course, these mundane happenings can be and are often enhanced by all varieties of baroque communication and discovery, even those which appear beyond all explanation or sensibility.  The person can be fascinated, transfixed and joyful, but does not transmit experience into the realm of future influence.  The desire of the person is immune to the temptation of hierarchy and is therefore anti-mystical.  The intention of personal communication does not co-exist with any structural or business model.  The mystic and his intention can not make the same claim.

***

There is no "outside" the Matrix.  All is "the desert of the real".

So, now to those burning questions I hinted at.  What is this Loop, what does it mean, if anything at all?  How can it be properly interpreted?

The answer is simple, from this point forward, whatever you are thinking or doing or acting upon, consider whether it is as a person or a mystic.  Are you in it for the shits-and-giggles, or is your action and intention aimed at securing a future state of happiness or knowledge or alchemical power? After a while, you will be able to easily assess in just what capacity yourself and others act.  You will see how subtly and cruelly the irrelevant concerns of Future Schlock creep into your thoughts and your world, messing mayhem over even the most simple and placid situations.  You will see that just as the workings of the Loop are the basis for reality as revealed in the congruence of a synchronous program, so mysticism, power and empowerment, promised wisdom, elite hierarchy and dreams of progress are the Satanic distortion that feeds upon and Lords over the Loop--if we let it.

Don't buy it.

Sexual-Shmexual!

If anyone should read in this essay the cryptographic desire of the author to "get some"--they are  probably right.

"Sex is the Central Problem of Life" - Havelock Ellis

Over the last several long years, I have done alot of thinking about the matter of sex.  In that same time period I have also become transcendantly celibate, by the use of a technique available to all men, but for physiological reasons somewhat difficult for women. This physical disparity is the exact reason why very few women are able to achieve a legitimate state of Zen (no fault of their own)--because for a woman, the true act of orgasm is to give birth, and is therefore tightly affixed to a mystical (future based) principle.  Mysticism is the source of all human woe.  

For a man it is easy.  At the first stirring of a sexual impulse, one immediately purges it in the same spirit as one might purge any ordinary function or chore.  It's like washing the dishes.  Not terrible but by no means desirable--one is glad when it is over and accepts that one will have to do it again later.  No big deal.

Kitano's "Blood/Snow" makes the matter nicely.

For yours truly, this approach has stripped completely the mystique of erotic stirrings and replaced them with real clarity on the matter of sex and eros--and for that matter, everything else.  You might say I have "Time" on my hands, or more pointedly "The Blood of Time".  The act of non-erotic masturbation is an affront to society exactly because the repeated process shatters the illusion of the social reality.  When one rubs one out without lust, one breaks the most dire of Laws, because one Murders God.

For most of my life I've had a normal if not very active sex life.  Attracted to women of every race, color, creed and shape.  Got busy with a few--lived and loved with one of them for years.  And like most folks, I had the twist of a personally derived polymorphous predilection or two--nothing much kinky, mind you.  After a long and throbbing inability to reconcile my role in I what now see as the innately paradoxical state of human sexuality, I began to believe I was gay.  I came out to family and a few friends.  I was overcome with homoerotic desire, but in my usual fashion and with the help of some very lucky "bad luck", I did not consummate but rather meditated.  I came to the correct conclusion that there is no such thing as homosexuality or any other type of "alternative" sexual behavior, and more deeply, that even so-called "normal" human sexuality is an illusion.  

Adam and Steve or Madam and Eve?--Just More "Old Eden" in New Bottles

Today, the brave new age of sexual freedom (and all of the trumped-up science and politics that come with it) are designed to co-opt into a "natural structure" the impossibly unnatural fact of individuality.  This change is necessary as the sovereign individual in all of us begins to wise-up to the fact that there is something terribly wrong with the human social agreement, which relies upon "sex" as its central sacrificial maypole.  Within the sub-Edenic state of human sexuality, the emergence of the individual is a dangerously destabilizing and ever present threat. The New Sexuality is a ruse, an attempt to capture the fledgling "person" in a seemingly novel form of psycho-sexual social expression, just as a 2000 year old principle of law begins to lose its final teeth.  

Here are the true facts.

Sex is Violence, a form of induced trauma. A trauma that begins at birth and does not subside--ever.  No one really enjoys it, but all feel they must repeat the act in much the same way as one revisits the memory of a terrible accident. This concept is reinforced redundantly in all variety of persistent media throughout the ages, so whether or not normal "animal sex" is in fact a positive virtue, for the "conscious" human being, sex is inevitably paired with trauma, and we are encouraged and encourage each another to express our persona in the light of one or another of these trauma based models--a fact illustrated nicely by Ballard and Cronenburg in Crash.  

Smells like "Teen Spirit"

The bad dream is compounded by the fact that all sex, even naturalistic "non-social" animal sex, is an uneven exchange of power.  The male takes his power in the act of copulation, specifically with a virgin female, and the female takes her power in the act of birth.  It works in the animal world, but this interplay can not maintain balance in the world of social consciousness. This is because consciousness of power is a universally corrupting influence.  In the human game, neither male nor female is willing to surrender their power to the natural order and thus will build a reserve of power as a weapon against the opposite sex, usually typified in the form of a symbolized parental figurehead.  The resulting war is the very foundation of what we call politely "society".  With the emergence of socialized alternative sexuality, this unholy war between the sexes has now become a war between individuals.  Any attempt to operate and wield influence inside the social framework is now a sexual act.  Reality has become a full scale ewiger blumenkrieg.  The human being has transcended the state of Animalia, and it doesn't matter at all that few of them will ever be aware of the fact.

There are no men, no women and no children anymore.  Only Stars.  Stars at an Orgy called War. 

So, when regarding the immensity of reality--all I have to say is: FUCK IT!!  Give Your Power To The Sky.

http://www.bbc.co.uk/news/world-radio-and-tv-18085151

At this link, discussing Acteon and Diana, Florence Welch agrees (?) with Da WWWiz.

Some poesy by your old pal Da WWWiz, to put it all in the proper Gnostic perspective.

The Way

Yea, women but an empty place
Churning to be filled,
And men like children lost in space
Yearning to be killed,
Come with your trust to Jesus and I'll bet my bottom dollar
You'll be thrilled

He'll lock you in an engine room
His chariot to drive
Over a giant mushroom
Ain't it good to be alive?
Give your heart to Jesus and according to concordance 
You'll survive

Running down oblivion
Across the galaxies
Lifted through the neon
Lowered to your knees
Sign your soul to Jesus and my goodness gracious me
You'll agree

Daily Departures from Las Vegas

What is "The Sophia"? Or: The Myth of Wisdom

I take on the the needles of Eleleth.  Look upon me, ye blighty, and repair!

Radio Gaga

Last night, I was both honored and delighted as guest of The 42 Minutes Show, hosted by Will Morgan and Douglas Bolles, with special guest Eleleth.  For me, the result was more than just worthwhile.  I had fun and was treated with dignity and interest.  If you think you would enjoy a deeper dive into the Wicked Mind of Da WWWiz, Stanley Kubrick, Rosemary's Baby, 9/11, Get Smart, John Lennon, Masonic Ritual, and the splendid torments of Gnosis, you might enjoy a listen.

http://www.talkshoe.com/talkshoe/web/audioPop.jsp?episodeId=625619&cmd=apop#.T7OVobVlX1Y.facebook

Dr. Swamplove, Or: How I Learned To Open My Eyes Wide Shut And Hate Stanley Kubrick

At first blush, the term hate is so much more precise than its regular counterpointer of love.  Few have the slightest difficulty expressing what they hate, but for me it's not so simple.  For me, hate is every bit as confusing an emotion as its goodly brother, because the kind of hate I'm talking about--and the only kind of hate I feel--is tangled with anguished admiration. The admiration for an artifice that is as difficult and even cruel as it is shattering and beautiful.  This kind of hate trends wildly away from ordinary dislike or disgust and well into terrible fear and respect.  What am I to do about it?  It is the state of things for me, and I see no way out.

So, as I continue to explain why I hate Stanley Kubrick, and why I think that you ought to hate him too, please keep it in mind--this special kind of capital "H" Hate--because the Beginning of Wisdom is the Hatred of God, and if Stanley Kubrick isn't God, then there is no such thing as Stanley Kubrick.

***

In my magnum opus on Eyes Wide Shut I propose that Kubrick's final riddle, released in 1999, was in fact set during the Christmas Holiday just following the events of September 11th, 2001.  There are many intricate proofs, but the simplest comes from the strange set of images which open the movie.  First, we see Alice, in a lighted nook off the master bedroom, as she slinks out of her gown.  She stands on the bare wall-to-wall carpet, which is pale to the point of white.  After the main title there is an exterior establishing shot of the Harford's apartment building.  Next, we find Bill in the same nook as Alice, now plunged into relative darkness.  There is a reddish-grey area rug on the floor.

The instant interpretation of Alice is as a masonic flash card for the esoteric Isis.  Isis is perpetually veiled and the veils themselves are reported not only as the barrier between the material world and the light of God, but also the forbidden threshold into the the realm of Hades.  The double set of twin pillars that flank Alice seem to be redundant, but in fact illustrate the rectilinear "hallway" effect that Kubrick used again and again, to create the sensation of looking toward a vanishing point through the lens of a camera.  They also serve as a mirror effect, indicating the multiple layers of illusion transmitted by Isis, toward those She wishes to rebuff.  So if we accept Alice as Isis, then the simple follow-up is that as Alice drops her gown, so Isis lowers her many veils and invites the viewer into the Land of the Dead. The completed assumption is that EWS is a post-9/11 movie. We decode that Alice's falling-down gown represents the collapse of the Towers and that the area rug in the darkened nook is the carpet of dust that covered lower Manhattan.  On its own, this assertion is a mighty leap, but not at all in the light of some few and powerful clues.

***

Stanley watches his movie--beginning to end-- from a park bench

The initial establishing shot of the Harford's building, seen in between the opening shots of Alice and Bill, lends a tough problem.  In a recent discussion with Kubrick researcher and writer Jeffery Scott Bernstein, Jeffrey pointed me to an in-depth IMDB discussion thread about the exterior shots in EWS.  There, I learned that the Harford's posh digs are supposed to perch in the elite "San Remo" building.  "San Remo" jumps out as a sly play upon "Somerton", which is the name of the estate where Bill Harford comes face-to-mask with a dangerous world he didn't even know existed.  The term "San" is Latin for "Saint", but also means "without".  My take is that this use of "San" is as a minus sign, and equivalent to any ordinary term of negation, e.g., without; not; un-; ex-; anti-, and so on.  This is revealed at depth by a reversal of the term "Somerton" into "Not Remo's" which then equals "San Remo" or "Without Remo".   

The shot is interesting for another reason, because it is used again near the end of the movie.  One can see it is the same image as the first because a man sits, slouching on a street side bench (screen left).  The message seems to be a playful reference to the movies source material, Traumnovelle, which means dream-book. and such is the normal assessment of this apparent editing redundancy, that Kubrick implies the entirety of Bill's misadventure is only a bad dream, and that he has not even ventured outside the walls of his own home.  The same motif is reinforced as the movie closes.  In FAO-Schwarz, talking over the meaning of his torturous journey, Bill is bewildered, needy and trembling, acting like a kid who has just waked-up from a nightmare.  Alice, on the other hand, has evolved into the completed Mother-Whore.  She strokes and molly-coddles Bill and then suggests politely that they fuck.

However, I think that the complete message is decidedly more arch.  Take a look at a revealing perspective of the "San Remo" building.  It is a pair of Twin Towers"!  I deduce that the hidden mantra here is a classic of double-think programming. Simply, double-think is the conscious awareness of reality held in balance with a falsified version of that same reality.  The added effect is that under the influence of double-think, one can not even discuss the "real" reality in question and will dismiss anyone else who tries to do so.

So, in another leap, I reckon that the "Somerton/San Remo" duality carries the following code: the Towers didn't really come down at all, at least not how you secretly worry they came down: at the hand of some indescribable evil.  Forget it kid, it's all an illusion, a bad dream. Accept the official story and whatever you do, don't ask questions about it.

There is a further complication.  The "San Remo" is next door to the infamous "Dakota" building, where John Lennon was assassinated and exterior scenes of Rosemary's Baby were filmed.  The "Dakota" was so named because during its construction it was "far north" of Manhattan's thriving center--like the Dakota territories.  North by Northwest, to be exact, but that's another story.

Anyhow, in the Masonic ceremony, the Light of Illumination, which is now widely accepted as the Light of Lucifer, is in the position of North.  The exact dignity of Lucifer is murky, because in propaganda, positive terms are appropriated for negative messaging--but here I use Lucifer as the symbol for a "source of light".  The acronym "EWS" lends itself to three of the four cardinal directions.  "N" for North is missing.  Established first as a plain metaphor, and in my own view as a model for the descent of humanity into darkness in a post-9/11 matrix, "EWS" can now be read as "Without North" and then, by way of the Masonic symbol, "Without Light".

So--can we infer that "San Remo" and "Without Remo" mean also "Without North" and therefore "Without Light"?  I would say the title Eyes Wide Shut ought to be enough to cinch the knot, but there is more, and it is chilling.

John Lennon dies and Polanski's Dark Lucifer issues forth on this spot

John Lennon was killed outside the "Dakota" on December 8th, 1980, on the pinpoint spot where Rosemary--Polanski's Mother-Whore--walks into her Satanic Neo-Natal Nervous Breakdown Hotel Hell.  During one exterior scene from Rosemary's Baby, I can't remember which, but I think it is the suicide sidewalk scene, an off camera voice can be heard saying... "...a young man was shot here...".  The date of the Roman Catholic Annunciation, which is the day Catholics uphold as the impregnation of the Virgin Mary, is December 8th.  I can not merely dismiss as coincidence this harmony of dates and the twin births that they foretell.

Rosemary will give birth, we are told, to Lucifer incarnate, but this may be a misuse of the name Lucifer and its Promethean meaning of "light bringer".  Kubrick's 2001: A Space Odyssey is about many things, but I think that it is fairly easy to see the story of David Bowman as that of the birth of Lucifer--Nietzsche's Superman. Side by side with Polanski, EWS heralds a sinister reflection to the birth of this "starchild".  The proximity of the two buildings on a Northern line, along with the already unraveled parts of this code, indicate that Kubrick's child of light, who should be properly called "moonchild", is not the ascension of the human to a higher realm, but the shadow of Death and darkness upon the world entire.  

***

A while back, I chatted a bit with Jay Weidner.  I was intrigued by his thesis that Kubrick faked the Apollo 11 footage.  He finds clues not only in the footage itself, but in Kubrick's films at large and especially in The Shining.  Weidner reserves judgment on the actual status of the 11 Mission, but instead implies only that the imagery and data are at least dubious.  I decided to share another code from The Shining, buried just one layer beneath the precise code of Jay's desiring.  I don't know what he thought of it--the guy is pretty cagey.  He did say it was disturbing.  Here is my evidence as presented.  I have added one or two new thoughts and some images.

Dear Mr. Weidner,

I have just watched your movie, "Kubrick's Odyssey".  You have uncovered a code that has yet another layer of meaning, hidden beneath the first code, in the manner of steganography.

I will make an assertion and then back it up with a short argument.

Kubrick either knew of or helped design the mechanics of the events of 9/11.

The first clue is given when Jack bounces the tennis ball.  The image begins centered on Jack's typewriter and widens out to the Colorado Rm.  We hear Jack's ball bounce a total of 11 times.  The first 9 bounces are contained in the widening shot that begins on the typewriter.  The next 2 are heard after the cut to behind Jack.  This configuration gives 9/11.  Next to the typewriter are four sharp  pencils pointed at the Navajo "rocket mural".  The typewriter is an "Adler", which is German for "eagle", and it bears the crest of an eagle with its wings spread wide in the manner of an airplane.  My contention is that the pencils and the rockets on the mural represent missiles.  The symbol of American Airlines is the "Eagle".  American Flight 11 was the first Tower strike.  Older typewriters did not have a key for the number "1".  Typists would use the lower case "l" for a "1". This adds a double pun to the meaning of Jack's manuscript, by way of a homophone.  "A-11 (All) work and no plane makes Jack a dull boy".  Thus I discern that the eagle/airplane image on the typewriter is analog to the "script" of 9/11 and the four pencils represent the truth of it, the "blueprint" of the plan.  Missiles, not planes. 

The second clue is found when Jack first visits the Gold Room.  There are two cash registers behind the empty bar.  Here, I must remind of Kubrick's connection to IBM, who were expressly thanked in the now removed original closing credits to 2001:ASO.  Also, consider the natural conflation of IBM (makers of cash registers and other "business machines"), with the WTC complex.  For most of the 20th Century and right up to the milennium, IBM utterly dominated world business tabulation systems. The critical value of IBM systems to say, the NY Stock Exchange (housed in the WTC complex), is over bearing to say the least.

In the Gold Room, the bar-back is illuminated with 20 panels of light: 9 interior panels, forming three sconces, and 11 frontal panels.  I infer that the two "registers" stand in as WTC 1 and 2.  And I needn't remind of the position of the Millennium Hilton Hotel standing next to the "event", which design is an open transmission of Kubrick's Monolith.  I wonder what is in Rm. 237 of that hotel?

The third clue is introduced in the form of a smarmy riddle.  Who are the twins that are not twins?  Why, the WTC buildings, of course, completed two years apart.  But another more potent answer is: the twins from The Shining, which may or may not be twins but are certainly sisters.  The young actresses are twins, we are told, but the characters they portray, like the children of Grady described by Ullman at Jack's interview, may be 8 and 10 years old.  They look like twins, but like the Towers, are two years apart. You may also note that one is slightly taller than the other. The images of their dashed bodies are that of WTC 1 and 2, and as it does with the girls, the evidence disappears into thin air, just like pictures in a book.

The final clue must be seen to be believed.  You will note multiple hidden reference here to 2001: ASO.  The term "Odyssey" is featured on a poster for a construction site.  The architect is a "Frank Lloyd", which gives "F-loyd" or "Floyd" as in "Heywood Floyd".  There is a motif regarding the space program.  More subtle: the repeated reference to hollow "Bricks", a German "drummer" who backed the Nazis, and the intriguing fact that Mel Brooks, producer of Get Smart, says his favorite movie is Dr. Strangelove.

***

In a recent comment here at Da WWWiz, synch superstar aferrismoon makes reference to a code that got me banned from Rob Ager's Kubrick Forum.  The terms in question, which are a telescope of  Dr. Strangelove, are "Doc", "Strangle", and "Glove".  This same code can be found in a myriad of media.  Its standard use is the asphyxiation or drowning of a young man who is more often than not a doctor or a policeman, or is acting in a capacity metaphorically similar to these professions.  I have documented a variety of these codes, most notably in an exhaustive analysis of the Coen Bros. Burn After Reading.  In BAR, Chad, played by Brad Pitt, is a physical trainer (doctor) who fancies himself a spy (cop).  In the critical scene, Chad, who is dressed in an uncharacteristic shirt and tie, stands beneath a basement water pipe and cracks his neck to relieve some tension.  A moment later, when he is discovered hiding in a closet, Chad's head will get blown-off.  The completed image, reinforced by the simile of auto-erotic asphyxiation in a bedroom closet, is that of a "hanging" or "dangling" chad.  Chad's killer will dispose of the body in the Chesapeake (drowning).

The prosaic occult connection is to the "Hanged Man", who is also called the "Drowned Man".  But if one apprehends the conflation of this code as it is used by Kubrick to the Talking Heads classic Swamp (from the Album Speaking in Tongues), a colossal truth begins to emerge: that reality has passed into the Land of the Dead.  There are four phases of this truth that must be defined before we jump in the code itself.

1.  August 6, 1945: The Beginning of the End

2.  November 22, 1963:  The End of Life

3.  The Reagan Years: The Tomb is Sealed

4.  September 11, 2001:  The Gateway to the Underverse

The first phase is no more than the Sun catching-up with itself.  Human expansion across the globe is analog to the movement of the Sun from East to West.  After the civilization of the American continent there were "no more worlds to conquer" and the yearning for plunder leapt from the Geographic Stage to the Lunar Stage by pushing Westward into an already ancient and civilized territory.  This may also be stated as the cracking of the nuclear shell, the egg shell of Earthly limitation, which is the duality of Proton and Neutron, and outward toward the Moon, which is the Electron.  The war in the Pacific and the subsequent use of the Atom Bomb do not represent the conflict of World Nations, but instead are the collective desire of humanity to reach for the stars.  Fire all of the guns at once and explode into space.  Greedy bunch of maniacs.  I wonder if we had any idea it was suicide?

Phase two, the death of JFK, is the last gasp of the striving World.  Kennedy urged that we reach out into space and do "these other things", and backed NASA with zeal.  I suspect that NASA's data on the Moon--built on decades of Nazi occult research--was already conclusive.  Namely, that the Moon is a lock on the Earth and that the keyhole is on the outside.  The moon landings are a hoax of some kind, that is for sure, staged to simulate the impossible dream of manifest destiny.

Phase three is SDI, or as it is called in the parlance of our times: "Star Wars".  The Strategic Defense Initiative was the nail in the coffin our geography.  By the late 70's, the satellite radio mapping of our every nook and cranny was completed and could be updated at a moments notice.  SDI locked it up tight with explosive bolts.  We live quite literally inside a gun pointed at itself.  And it is hermetically sealed.

Phase four.  The destruction in NYC of WTC 1 and 2, and the Solomon Bros. Building is the internal recapitulation of Nagasaki, Hiroshima and the Trinity Tests.  The power of the Atom unleashed not outward unto the stars to wander, but back in at itself. The Pentagon breach released Osiris (OZ = 77), to rule over the Land of the Dead, only to proclaim that we had been dead all along.

Kubrick documents the facts of this conundrum in a variety of motifs, but to my mind, none is more mean spirited than the "Doc-Strangle-Glove" code.  Mad nuclear scientist Strangelove chokes himself with a gloved hand.  In The Shining, Danny, whose nickname is Doc, suffers a strangulation too.  In my work on The Shining, I propose that Danny strangles himself, just as Jack suggests to Wendy.  The theory is not popular but is nevertheless correct.  However, it is the juxtaposition of EWS with the Talking Heads Swamp that connects all of the elements discussed thus far into the startling possibility that Kubrick helped design the End of Time event called 9/11, and the utmost certainty that he knew about it well in advance.

In this image we see Dr. Bill examining a boy under the watchful eye of his mother.  This is a fine example of Kubrick's effortless use of Uncanny Doubling.  The three are a trinity of Mother, Father, and Son, but Bill and the boy are also Twins. Bill is a grown-up Doc, Danny is a boy called Doc.  Both the boy Bill examines and Danny are strangled.  Dr. Bill is strangling himself.

Now take a listen to Swamp, about a Doctor and Strangulation, and rooms full of blood, and the A-Bomb.  Listen to its ultimate message: wake up, the whole thing is over.

Here are the key lyrics.

"...No dust, no rocks / The whole thing is over..."

"...all that blood, it's gonna swallow you whole..."

"...when they split those atoms / it's hotter than the sun..."

"...soft violence (violins?) / hands touch your throat / a medical chart on the wall..."

'...all that blood will never cover that mess..."

Here is the full equation.

Alice's Gown = The Veil of Isis

The Gown Drops and we enter the Land of the Dead.

Somerton/San Remo = Without Light = Shade = Hades

Kubrick encodes The Apocalypse Prison and the Resurrection of Osiris

We are all just prisoners here, of our own device.  

                                                                              

                                                                           ***

I want to call attention to two great Gnostic theorists and why I think they

dropped the ball.  Phillip K. Dick, who by way of some vision work, believed the "Head Apollo" would return to free humanity from the "Black Iron Prison", and Terence McKenna, who expressed that the key to our salvation was the creation of Art.  

I think Art is the problem, not the solution, although I would add that it is a problem with no need or possibility of a remedy.  As far as the return of the Messiah--well--that is unnecessary too, because of a hangman's loophole.  The hidden nature of the Prison of our Earthly dwelling is that we are and must be naturally immortal.  Our selves are hermetically sealed, so like the man says, "it's all inside".  There is nowhere for us to go--not even to nowhere itself.  Life is an illusion of amnesia and Death is the mirror image--nothing more.  Yes, there is great suffering and (unfortunately) suffrage too.  But there is no need for either intervention or metamorphoses because our energies are returned to us in full, whether we like it or not.

***

I guess--if we really do "reap as we sow"--I might propose that love is the solution, but for most, love is a labyrinth of blind alleys and lost hope.  No one seems to have a convincing definition of this thing we call love, but for me it's quite simple.  For me, love is the perfect twin of its bad-ass brother, because the kind of love I'm talking about--and the only kind of love I feel--is tangled with demonic delight.  The delight that we survive, that we live on, fly on in a reflected sky, reflected endlessly into itself.  Not only in spite of but because of the infernal and impossible condition of our self-awareness.  This kind of love--this capital "L" Love--which is dumbstruck awe and ignorance and fear, goes where angels dare not tread, and it looks like those winged harpies have the right idea after all.  Bunch of cowards if you ask me.  As for the rest of us, the decision is made. There is no turning back.

So I guess I love Stanley Kubrick after all, and I think that you ought to love him too, because the Beginning of Wisdom is Love.  Love and the Fear of Bog and All of His Wonders.  And as for Stan, well...

...he's the bomb.