DOCUMENTARY — EXPOSED: Hollywood Satanism, Ritual Murder, and Aleister Crowley (Interview With Leo Zagami)
via Hermetic Order of the Golden Dawn®
Nov 4, 2017
David Griffin and Leslie McQuade interview Leo Zagami as he exposes Aleister Crowley and the Hollywood web of Satanism, Rape, Pedophilia and Ritual Murder.
via Vault of Mystery
Jul 12, 2012
This discussion dates from June 2010 and was originally published on the great Vyz’s site. Just put on the glasses.
via Zachary K. Hubbard
Jul 4, 2017
VIDEO — How Trump is The Ultimate Divide & Conquer Puppet: Duality, The Hegelian Dialectic & The NWO Hyrda
Feb 8, 2017
Nov 23, 2016
via NY Daily News
by Keri Blakinger
Feb 2, 2016
Everything’s going to the droogs.
The nationwide release of “A Clockwork Orange” was 44 years ago — on Feb. 2, 1972 — but today its star, Malcolm McDowell, says the movie was more prescient than it seemed at the time.
Based on a novel by Anthony Burgess, the Stanley Kubrick film shows “a world in which all older people stayed indoors with their televisions on,” McDowell told the News. “And that’s basically what happened.
“It’s just the young people out there doing drugs — and he foretold all this before the drug explosion.”
The film, like the book, depicts a dystopian future filled with “ultra-violence,” gangs of “droogs” and depravity at every turn. The four main characters — including McDowell’s lead character Alex — spend their free time in a bar where they drink drug-laced milk in preparation for an evening filled with violence, mayhem and even rape.
The book was released in 1962 and shooting for the film began in 1969, “so this is really before huge gang violence and drugs happened,” McDowell said.
With some of the most iconic scenes set behind bars, the prison system looms large in the world of “A Clockwork Orange” — much like in modern America.
via Jordan B Peterson
Jan 23, 2014
via The Vigilant Christian
Aug 5, 2015
via Jay’s Analysis
by Jay Dyer
Apr 26, 2015
Ex Machina is the latest incarnation of the familiar Short Circuit theme we’ve seen lately – but this film does not feature the madcap antics of Johnny 5 seducing Ally Sheedy. In Ex Machina, the bots are babes, and the babe bots are not happy about their male masters, and Steve Gutenberg is not one of them. However, there is a lot of sexual innuendo and robo fetish in this download, and as you can imagine with a JaysAnalysis analysis, there’s a deeper, esoteric meaning! Boot up your floppies and polish your laser discs because if there’s anything we can learn from Ex Machina, it’s that you can make a chick perfect and she still ain’t happy.
For most nerds, the robobabe is some kind of fantasy, but Ex Machina has an important lesson to teach all nerds: give up that pipe dream. Recalling iconic imagery from Speilberg’s A.I., PKD and Blade Runner, here we have the archetypal tech geek who is coaxed into meeting a tech elite at his underground mountain facility following winning a “contest.” As a low-level coder at Bluebook, the world’s largest search engine, Caleb Smith (Domhnall Gleeson) discovers his CEO, Nathan Bateman’s (played by Oliver Isaac) home is actually a research facility for super advanced A.I. Guarded by levels of security requiring key cards and shrouded in secrecy, Bateman’s zen architecture provides a stark contrast of cold techno logic against the lush green of the mountain forests, foreshadowing the coming faceoff between nature/man and A.I. As with 2001: A Space Odyssey, man specifically will square off, not against the masculine HAL, but the feminine Ava (played by Alicia Vikander).
Caleb is instructed by Nathan to perform a series of Turing tests on Ava to see if she can pass by fooling him into thinking she is self-aware. Boozing his way through the film, Nathan’s shady side gradually emerges as it becomes evident he is lying to Caleb. Modelled on a seven-day week patterned after the days of creation in Genesis, each day Caleb conducts a “session” with Ava that involves a series of questions between them, as Nathan watches each session from his panoptic surveillance system. Dating herself as “1,” Ava refuses to specify whether she is one day or one year old, indicating (following the climax) that she is not concerned with dates because she is the new number 1, the first, as a fembot replacement of Adam.
With lifelike precision, Ava is able to perfectly mimic human emotions and manipulate Caleb into thinking she is self-aware and experiences emotional attachment to him. Utilizing his weakness as a horny, single tech geek, Ava we find has profiled Caleb from the beginning, and rather than winning a competition, the real study is not Ava, but a deep psychological operation on Caleb to see if he can be manipulated by A.I. Nathan has planned all along to deceive Caleb into thinking he is special, and through mass surveillance data collected globally, Nathan is able to construct the perfect A.I. deception based on Caleb’s online footprint and psych profile.
Readers will recall that I highlighted in this very idea in past articles, explaining that social media and search engines themselves are designed ultimately to provide the synthetic version of the subconscious for the “global brain.” The global brain is a real plan, and as highlighted in my analysis of Spike Jonze’s Her, it will be linked into the supercomputers, the Internet of Things, and the mass data from search engines and social media. All of this is explicitly stated and revealed in the plot of Ex Machina, even to the point of Caleb sounding like he was reading directly from JaysAnalysis articles – that problems in the philosophy of linguistics and pattern recognition would be central to avoiding the Godelian “loop” of determined reactions, that might be circumvented by linking the A.I. to the “global brain.” As I wrote in reference to Her:
[Potent News editor’s note:
There’s also a goat skull on the antagonist’s wall in one of the opening scenes.
Later when the antagonist tells the protagonist about the AI he just created:
Nathan: “[…] Cuz if that [Turing] test is passed, you are dead centre of the greatest scientific event in the history of man”
Caleb: “If you’ve created a conscious machine, it’s not the history of man – that’s the history of Gods.”
Also, much of the film takes place indoors whereby you see a red carpet in the hallway countless times, reminding us of Hollywood’s red carpet which many of us know symbolizes bloodlines.]
World Crypto Network
Feb 20, 2015
Jan 27, 2015
How does modern propaganda work? How effective is it? Adam blows these issues wide open with an incredible series of man on the street interviews. For the record, this was not a selective group, or even in a particularly conservative or pro-military area. The people you see in this video were the first seven people on the 3rd St Promenade in Santa Monica, California who answered yes to, “Did you see American Sniper? Do you think Chris Kyle is a hero? Would you like to do a quick interview for my YouTube channel?” I was simply seeking a good age and gender variety.
VIDEO — Exclusive Interview: Gray State Co-Creator Speaks About David Crowley’s Sudden Death and “Gray State Going Dark For Now”
Jan 27, 2015
Ben Swann interviewed “Gray State” co-creator and actor Danny August Mason to discuss the future of the film in light of the recent deaths of director David Crowley, his wife Komel, and their young daughter.
The deaths of the Crowleys have been ruled by the Hennepin County medical examiner’s office as a murder-suicide.
The medical examiner’s office ruled that the deaths of Komel Crowley and her daughter were homicides, and that the death of David Crowley was a suicide. All three of the Crowleys died from a single gunshot wound to the head, and a handgun was found next to David Crowley.
Apple Valley police Capt. John Bermel said that the medical examiner’s office did not find physical signs of a struggle on the bodies or inside of the home. Bermel also pointed out that the house was intact, although recorded audio of police had stated upon discovery of the bodies that a sliding door in the back of the Crowley’s house had been unlocked and “slightly ajar”. Bermel said “If there was a scuffle, you’d expect to find maybe something broken, maybe something knocked over.”
by Amanda Warren
Jan 19, 2015
The world reels with the turmoil of war, geological disaster, and economic collapse, while Americans continue to submerge themselves in illusions of safety and immunity. While rights are sold for security, the federal government, swollen with power, begins a systematic takeover of liberty in order to bring about a New World Order.
Americans, quarantined to militarized districts, become a population ripe for tyrannical control. Fearmongering, terrorism, police state, martial law, war, arrest, internment, hunger, oppression, violence, resistance – these are the terms by which Americans define their existence. Neighbor is turned against neighbor as the value of the dollar plunges to zero, food supplies are depleted, and everyone becomes a terror suspect….
The following concept trailer has amassed nearly one million views since its YouTube debut in 2012:
In a stomach-churning turn of events, the filmwriter/producer David Crowley, his 28-year-old wife Komel, and young daughter, Rani, were found dead in their Apple Valley, MN home – after not being seen or heard from since before Christmas.
Most of the information about the discovery centers on neighbor Collin Prochnow who saw packages piling up and decided to check up and ring the door bell, when he glanced in the window and saw all three Crowleys on the floor, that “just didn’t look human.” He had actually told his wife there were dummies [mannequins] on the floor along with a black handgun, before calling police. But the police reported finding people who were “obviously dead.”
How can an entire family, including a five-year-old daughter go unnoticed for so long? All reports indicate that their bodies had been on the living room floor since before Christmas. The neighbor figures that it happened before Christmas, as packages were piling up at the Crowley home and there was no activity stemming from the home since before then. Reportedly, family and at least one colleague tried unsuccessfully to reach them before Christmas. The actual cause or time of death has not been released. By Sunday, the previously crowded mailbox and front stoop were bare.
Mainstream media have labeled it an apparent “murder-suicide” but – hear for yourself what police found when they arrived on January 17th….
Audio of the police communication is public and at around 2:35 mentions that the officers found the rear sliding door unlocked, and slightly ajar.
Notably, there is no suicide note. Details linking the event to a murder-suicide have not been released except to call it “apparent.” A black handgun on the floor next to the family is, so far, where the investigative details end. In other words, definitive information of what happened to the Crowleys is either unknown or unreleased.
Dec 31, 2014
by Larry Chin | Centre for Research on Globalization
Almost all wars begin with false flag operations.
The coming conflicts in North Korea and Russia are no exception.
Mass public hysteria is being manufactured to justify aggression against Moscow and Pyongyang, in retaliation for acts attributed to the North Korean and Russian governments, but orchestrated and carried out by the CIA and the Pentagon.
The false flagging of North Korea: CIA weaponizes Hollywood
The campaign of aggression against North Korea, from the hacking of Sony and the crescendo of noise over the film, The Interview, bears all the markings of a CIA false flag operation.
The hacking and alleged threats to moviegoers has been blamed entirely on North Korea, without a shred of credible evidence beyond unsubstantiated accusations by the FBI. Pyongyang’s responsibility has not been proven. But it has already been officially endorsed, and publicly embraced as fact.
The idea of “America under attack by North Korea” is a lie.
The actual individuals of the mysterious group responsible for the hacking remain conveniently unidentified. A multitude of possibilities—Sony insiders, hackers-for-hire, generic Internet vandalism—have not been explored in earnest. The more plausible involvement of US spying agencies—the CIA, the NSA, etc. , their overwhelming technological capability and their peerless hacking and surveillance powers—remains studiously ignored.
Who benefits? It is illogical for Pyongyang to have done it. Isolated, impoverished North Korea, which has wanted improved relations with the United States for years (to no avail), gains nothing by cyberattacking the United States with its relatively weak capabilities, and face the certainty of overwhelming cyber and military response. On the other hand, Washington benefits greatly from any action that leads to regime change in North Korea.
But discussion about Pyongyang’s involvement—or lack of—risks missing the larger point.
This project, from the creation of The Interview to the well-orchestrated international incident, has been guided by the CIA, the Pentagon, and the State Department from the start. It is propaganda. It is a weapon of psychological warfare. It is an especially perverted example of military-intelligence manipulation of popular culture for the purpose of war.
There is nothing funny about any of it.
The Interview was made with the direct and open involvement of CIA and Rand Corporation operatives for the express purpose of destabilizing North Korea. Star and co-director Seth Rogen has admitted that he worked “directly with people who work in the government as consultants, who I’m convinced are in the CIA”. Originally conceived to be a plot taking place in an “unnamed country”, Sony Pictures co-chairman Michael Lynton, who also sits on the board of the Rand Corporation, encouraged the film makers to make the movie overtly about murdering Kim Jong-Un. Bruce Bennett, the Rand Corporation’s North Korean specialist, also had an active role, expressing enthusiasm that the film would assist regime change and spark South Korean action against Pyongyang. Other government figures from the State Department, even operatives connected to Hillary Clinton, read the script.
The infantile, imbecilic, tasteless, reckless idiots involved with The Interview, including the tasteless Rogen and co-director Evan Goldberg, worked with these military-intelligence thugs for months. “Hung out” with them. They do not seem to have had any problem being the political whores for these Langley death merchants. In fact, they had fun doing it. They seem not to give a damn, or even half a damn, that the CIA and the Pentagon have used them, and co-opted the film for an agenda far bigger than the stupid movie itself. All they seem to care about was that they are getting publicity, and more publicity, and got to make a stupid movie. Idiots.
The CIA has now succeeded in setting off a wave of anti-North Korea war hysteria across America. Witness the ignorant squeals and cries from ignorant Americans about how “we can’t let North Korea blackmail us”, “we can’t let Kim take away our free speech”. Listen to the ridiculous debate over whether Sony has the “courage” to release the film to “stand up to the evil North Koreans” who would “blackmail America” and “violate the rights” of idiot filmgoers, who now see it as a “patriotic duty” to see the film.
These mental midgets—their worldviews shaped by the CIA culture ministry with its endorsed pro-war entertainment, violent video games, and gung-ho shoot ‘em ups—are hopelessly brain-curdled, irretrievably lost. Nihilistic and soulless, as well as stupid, most Americans have no problem seeing Kim Jong-Un killed, on screen or in reality. This slice of ugly America is the CIA’s finest post-9/11 army: violent, hate-filled, easily manipulated, eager to obey sheeple who march to whatever drumbeat they set.
And then there are the truly dumb, fools who are oblivious to most of reality, who would say “hey lighten up, it’s only a comedy” and “it’s only a movie”. Naïve, entitled, exceptionalist Americans think the business of the war—the murderous agenda they and their movie are helping the CIA carry out —is all just a game.
The CIA’s business is death, and that there are actual assassination plans in the files of the CIA, targeting heads of state. Kim Jong-Un is undoubtedly on a real assassination list. This is no funny, either.
The real act of war
The provocative, hostile diplomatic stance of the Obama administration speaks for itself. Washington wanted to spark an international incident. It wants regime change in Pyongyang, does not care what North Korea or China think, and does not fear anything North Korea will do about it.
On the other hand, imagine if a film were about the assassination of Benjamin Netanyahu and the toppling of the government in Tel Aviv. Such a film, if it would ever be permitted even in script form, would be stopped cold. If it made it through censors that “magically” never slowed down The Interview (and yes, there is censorship in America, a lot of it) Obama would personally fly to Tel Aviv to apologize. At the very least, Washington would issue statements distancing themselves from the film and its content.
Not so in the case of The Interview. Because American elites actually want the Kim family murdered.
Despite providing no proof of North Korean involvement, President Barack Obama promised a “proportional response”. Promptly, North Korea’s Internet was mysteriously shut down for a day.
Unless one is naïve to believe in this coincidence, all signs point to US spy agencies (CIA, NSA, etc.) or hackers working on behalf of Washington and Langley.
Given the likelihood that North Korea had nothing to do with either the hacking of Sony, the initial pulling of the movie (a big part of the publicity stunt, that was not surprisingly reversed) or the “blackmailing” of moviegoers, the shutting down of North Korea’s Internet was therefore a unilateral, unprovoked act of war. Washington has not officially taken responsibility. For reasons of plausible denial, it never will.
Perhaps it was a dry run. A message. The US got to test how easily it can take down North Korea’s grid. As we witnessed, given overwhelming technological advantage, it was very easy. And when a war against Pyongyang begins in earnest, American forces will know exactly what they will do.
The US is flexing its Asia-Pacific muscles, sending a message not only to Pyongyang, but to China, a big future target. Some of the other muscle-flexing in recent months included the anti-Beijing protests in Hong Kong (assisted by the CIA and the US State Department), ongoing provocations in the South China Sea over disputed oil, and new defense agreements that place new anti-missile systems and missile-guided naval vessels to the region.
The bottom line is that America has once again been mobilized into supporting a new war that could take place soon. The CIA and Sony have successfully weaponized a stupid movie, making it into a cause and a battle cry.
If and when bombs fall on North Korea, blood will be on the hands of the makers of The Interview, every single executive who allowed it to be made, and the hordes who paid to see it.
If America were a decent, sane society, The Interview would be exposed, roundly denounced, boycotted and shunned. Instead it is celebrated.
The CIA should be condemned. Instead, Seth Rogen hangs out with them. America, increasingly dysfunctional, loves them. Obeys them.
21st Century Wire
[Dec 20, 2014]
It’s official: Sony Pictures has pulled the plug on The Interview – across all media platforms, for now.
The chain of events which led to this point may forever be marked by historians as a seminal, watershed moment in this troubling epoch, known simply as, ‘The Age of Stupidity’.
Without a doubt, the most exciting piece of foreign theater involving the US and North Korea since Dennis Rodman and The Fish That Saved Pyongyang…
It couldn’t be any more ridiculous; a twisting and turning, real-life cloak and dagger drama seemingly tailor-made for Hollywood’s ever-expanding child-like adult audience who tends to believe anything which comes from ‘official sources’ or Jon Stewart’s Daily Show.
THE PLOT: A mysterious group of hackers who go by the intriguing name ‘Guardians of Peace’ (not to be confused with ‘Guardians of the Galaxy’) are said to have breached the company’s firewalls and have stolen lots and lots of sensitive emails and data from Sony Pictures Entertainment in Hollywood.
ACTION: On Monday morning Nov. 24th, Sony employees log into their computers only to be greeted by a neon red skeleton on their monitor screens accompanied by the words, “#Hacked by #GOP,” (no, not the Republican Party), followed by lots of threats to release data and post Hollywood secrets online in text-sharing sites like PasteBin, frequented by ‘hactivists’.
Worst of all, the hack attack upset what is by far America’s utmost important group of individuals – actors (including the one in the White House).
The whole affair is said to be very traumatic for Angelina Jolie, and Adam Sandler, and has also exposed a bitter turf war between the agents of both Charlize Theron and Scarlett Johansson. So studio execs are panicking, actors are traumatized, narcissistic sensibilities have been rattled, and publicists are really stressed-out too.
To make matters worse, these unknown, nameless and faceless hackers also oppose the release of Sony’s new political ‘comedy’ (we’ll use that term loosely), entitled, The Interview, which lovingly portrays the violent assassination of North Korea’s Dear leader Kim Jong Un.
We’re then told that “the hackers” are threatening (maybe virtual, or maybe real, they didn’t specify) to unleash “Sept. 11-style” attacks against any theaters who dare screen the upcoming movie. How they would pull-off these attacks against thousands of US theaters simultaneously will forever baffle our media’s fraternity of national security experts.
Then, all of the sudden and in unison, the media shouts and screams with of sort a confirmation: “Multiple reports suggest [!] U.S. government officials believe the attack is tied to the North Korean government”, or so says the Washington Post.
In other words, they might just be making it up, and it wouldn’t be the first time either. For all we know, much of this could have emanated from a publicity office somewhere in Los Angeles.
PODCAST — Remedy Roundtable 04- with Joe Atwill, Bill Joslin, Ryan Gilmore and Jan Irvin – “Psychopaths: The Morally Insane” – #211 | Gnostic Media
Sept 2, 2014
This episode is Remedy Roundtable 04, titled: Psychopaths: The Morally Insane.
Released on Thursday, August 14, 2014, Recorded on Monday, August 18.
In this series we have an international team with the Joe Atwill – the author of Caesear’s Messiah, who’s been on many times before; Bill Joslin from Canada – whom we introduced a few weeks ago with our video Meditation: Deconstructing Nonsense; and also Ryan Gilmore – host of Inside Out Asylum, in the UK. Both Joe and I are in Southern California.
Ryan Gilmore’s website:
Notes for this episode:
Dr. James DeMeo interview – “Saharasia, Pt. 1″ – #007 – members only.
Dr. James DeMeo interview – “Saharasia, Pt. 2″ – #009 – members only.
A Conversation on LSD:
How To Become A Cult Leader:
Well-known but misleading movie portrayals:
Psycho (1960) (Norman Bates)
• depicts psychopaths as having multiple personality disorder
slasher movie villains (70s & 80s) (Jason Voorhees, Freddy Kruger, Michael Myers)
• deranged and manic criminally insane killers. Could be classed as psychopaths, but are very rare in the real world.
Silence of the Lambs (1991) (Hannibal Lector) (nb. Manhunter (1986) is more accurate)
• Links psychopathy to cannibalism.
American Psycho (2000) (Patrick Bateman)
• gives the impression that psychopaths are psychotic and hallucinate.
Accurate movie portrayals:
Gaslight (1944) (Gregory Anton)
• A psychopath marries a woman to get at her jewels, and convinces her she is insane.
Clockwork Orange (1971) (Alex)
• The state using aversion therapy to control a psychopath. It doesn’t work.
The Devils (1971) (Urbain Grandier)
• portrayed as a victimised hero in the Ken Russell film and in the source novel (Aldous Huxley’s The Devils of Loudun (1952)) (see chapter 5 of Thomas Sheridan’s Defeated Demons (2012). Sheridan argues that Huxley is a psychopathic author defending the actions of a psychopathic character from history, and that the charming and sexually promiscuous Grandier was the real cause of chaos and strife at Loudun in 1634).
To Die For (1995) (Suzanne Stone)
• Dr. Robert Hare consulted Nicole Kidman on her character
The Talented Mr Ripley (1999) (Tom Ripley)
The Imposter (2012 documentary) (Frédéric Bourdin)
• low-level con man, who constantly changed his identity, spins an amazing web of lies on camera
Accurate symbolic fictional portrayals:
Some fantasy stories evoke the emotional realism of a psychopath using symbolism:
Bram Stoker’s Dracula (1897) (nb. Count Dracula is in part based on real-life actor Sir Henry Irving)
• drains life energy from victims (blood drinking)
• can spread his psychopathy (by biting victims)
• cannot self reflect (no reflection in mirrors)
• can assume different personalities (shapeshifter)
• able to seduce others (usually presented as very attractive to women)
Children’s Fairytales (various wicked stepmothers, imps, and wolves) Example: Rumpelstiltskin (16th century?)
• predatory lender (creates gold out of thin air for the miller’s daughter in exchange for her life and first born child)
• uninterested in riches, really interested in human ownership and control
• Is defeated when protagonist becomes aware of who he really is (when she finds out his real name, a way of bringing something clearly into consciousness, the ‘spell’ on her is broken)
Marshall McLuhan: Classical Trivium
Adrian Raine’s “Anatomy of Violence”
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Red Ice Creations
July 17, 2014
Henrik and Lana analyze the propaganda found within the movie Anchorman 2. They’ll also examine the actor Will Ferrell, his double standards, and his Funny or Die posse that includes producer Judd Apatow and writer/producer Adam McKay. What is the purpose behind the progressive’s politically correct agenda pushed in Hollywood entertainment?
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by Tony Cartalucci
July 15, 2014 (LocalOrg) – In the movie “Transcendence,” the lead character, an artificial intelligence researcher, is uploaded to a super-computer before his body dies. His consciousness survives and his mind, unencumbered by the weakness of his physical body, begins expanding exponentially. While science fiction, the movie’s premise is not entirely impossible. While the human brain is highly complex, accessing it, decoding it, and interfacing with it has long-ago already begun.
The US Department of Defense’s Defense Advanced Research Projects Agency or DARPA, has announced its “Restoring Active Memory (RAM)” project – which intends to develop a prosthetic for the brain to record and store memories for those with degenerative neurological conditions such as Alzheimer’s disease or victims of traumatic brain injuries (TBIs).
Science Daily in its article, “DARPA taps Lawrence Livermore to develop world’s first neural device to restore memory,” reported:
The research builds on the understanding that memory is a process in which neurons in certain regions of the brain encode information, store it and retrieve it. Certain types of illnesses and injuries, including Traumatic Brain Injury (TBI), Alzheimer’s disease and epilepsy, disrupt this process and cause memory loss. TBI, in particular, has affected 270,000 military service members since 2000.
The goal of LLNL’s work — driven by LLNL’s Neural Technology group and undertaken in collaboration with the University of California, Los Angeles (UCLA) and Medtronic — is to develop a device that uses real-time recording and closed-loop stimulation of neural tissues to bridge gaps in the injured brain and restore individuals’ ability to form new memories and access previously formed ones.
The research is funded by DARPA’s Restoring Active Memory (RAM) program.
In essence, RAM would also allow humans to expand their brains into non-organic systems. While the project states it intends to restore memory function to those with deficiencies, the same prosthetic could also be used to expand the memory capacity of people with normal brain functions. While the device currently is intended to be an implant, future reiterations may include external devices either linked physically or perhaps even wirelessly. The implications may lead to devices and systems that allow our “minds” to expand beyond the physical confines of our biological brains, opening the doors to both great opportunities and equally frightful threats.
Threats and Opportunities
For starters, the digitization of our neurology opens the doors to all the threats and opportunities that befall or benefit existing digital devices, including those connected to the Internet. Collaboration, control, viruses, hacking, surveillance, exponential intellectual progress, personal empowerment, and even human-drones are all in the cards.
And while a climatic and apocalyptic “war with the machines” lingers menacingly in the back of our collective minds, what if devices like that which DARPA is developing led to man merging with machines instead? There would be no war with machines, we would be the machines.
In this context, we face two possible futures: one like that portrayed in science fiction films like Terminator or the Matrix where humans hide amid the ruins of their once proud civilization fighting a desperate resistance against far superior machines that turned on them, or a future like that portrayed in the Japanese anime films and series, Ghost in the Shell. In the latter, the lines are blurred between man and machine and a tenuous balance of power is maintained throughout human civilization, between extremes of both organic and cybernetic natures.
With advances like that announced by DARPA, the latter scenario is the most likely one. A merge between man and machine is the most likely scenario – whomever controls cybernetic technology however, will determine how utopian or dystopian our future will be. Currently, DARPA and other corporate-financier monopolies control this research and technology, while they monopolize other realms of scientific progress including molecular biology, genetic engineering, and information technology. This power in such few hands is surely a recipe for disaster – at least for those without access or say in how the technology is used – or in other words – for the vast majority of us.
A consumerist paradigm that has neurological implants tied to our information technology infrastructure would lead to abuses that would make the NSA’s current overreaching authority look placid in comparison. It could also transform our military’s abilities into the most effective and most horrifying of both human and drone combat.
Instead, this technology must be democratized, ofpened up, and disseminated across society. People to be fully free and in charge of their destiny must not focus on “democracy” and “civil literacy,” but rather on technological literacy, as it is technology that forms the foundation upon which modern society is built and controlled. If we want a say in this modern, technological society, we must understand how it works – currently such an understanding lies in so few hands.
We will not “un-invent” neurological implants that expand the landscapes in which our minds may occupy. We can either choose to boldly embrace and take control of such technology, or cower and complain as others leverage this technology against us to cement an ever expanding disparity between their domination of humanity, and our subservient futility under their dominion.
Obtained via FOIA by a listener to ClandesTime, this is a list of all the films and TV shows that the Canadian Armed Forces (CAF) have participated in the production of, or at least all the ones they saw fit to admit to being involved in. It was quite a lengthy FOIA struggle that led to the release of this document, so credit to the listener for that, and the released document is quite heavily redacted.
Nonetheless, it shows a comfortable, continuous relationship between CAF and Hollywood, and with TV producers in the US and elsewhere – the BBC turns up a number of times. Indeed, documentaries/reality TV make up a significant proportion of the entries in the list. The entertainment movies are interesting because they include the most recent Superman film (Man of Steel) and White House Down, one of a pair of movies from 2013 depicting an assault on the White House in Washington DC. The most amusing entry on the list is The Colony – an apocalyptic climate change cannibalism thriller that I have not seen but which sounds completely dreadful.
You can download the CAF list here (PDF file).