Saturday, 30 June 2018

If Looks Could Kill

"...a lively smile, well if looks could kill"

A. Lively.

Anne Lively.

Anne Lively was murdered in such a way to be invisible to precogs. 

"If looks could kill."
Seeing the future. 
The Observer Affects The Observed. 
Every precogs nightmare.

Frank Herbert establishes with this as a premis in the Dune sextet.
Philip K Dick explores it without that stranglehold.

Anne Lively is from the movie interpretation of Minority Report (PKD).

It's all encoded in there into that one line from Transvision Vamp's Hanging Out With Halo Jones.  
Once the mind has made the connection, it is impossible to un-make it. 
Even if the data relating cause with effect is wrong, the connection is still a valid dimensional universe within the infinity. The complexity of the observers mind establishes how much data can be assimilated to make accurate interpretation of otherwise unrelated and randomly chaotic data. This is a basic mentat awareness (Herbets Dune).

Another one which keeps coming to mind is Ramona A. Stone and Ramona Flowers character in Scott Pilgrim vs the World movie, Ramona being an unusual name. 
Bowie described his concept album 1.Outside (from which Ramona A. Stone is a character) as being "a multidimensional hyper-cycle" or somesuch. 

Connected with this is the movie Romancing The Stone and its sequels/spiritual successors the Jewel Of The Nile and War Of The Roses.


Friday, 8 June 2018

Changing The Goalposts

google dictionary

Dictionary definition of the word delusional. It means two things. It means confused and it also means purposefully being manipulative. In general in society we all use it to mean the first of these. It is equally as valid to knowingly use the other meaning. A person who is a trickster, is delusional. A person who has been tricked and operating on a false premise, is delusional. The both are delusional, although the incentive is different in each case.

From my experience with this, it has become apparent that people with a cognitive disability or other form of mental impairment react in one of two ways when accused of being delusional. There are two stages in both cases. In both cases, the first stage is to react with hostility. If a person is consciously tricking other people, they will then attack as their second stage. A confident and adept manipulator will often use another person who they have deluded already, to do the attack. This is called proxy. In the case of the delusional person not realising they have been tricked, their second stage is to re-evaluate the situation. Both of these must be compared to a person who if accused of being delusional, does not attack because they are not delusional.

In modern jargon, the second type; the tricked (as opposed to trickster) is known as a flying monkey, from the movie the Wizard of Oz.

The attack of a trickster is likely, within the framework of contemporary culture, to be an allegation that the person exposing their manipulation, is bullying them.

The narcissist will play the victim role in attempt to convince and recruit onlookers (flying monkeys) that they are innocent and that their narrative is the accurate version of events. It creates a smokescreen, disempowering the person exposing them from being able to do so.

The only successful way of dealing with the situation is to detach and take neither side. Although there is no need for sides because this division plays into the hands of the trickster and their paradigm instead of maintaining objective clarity to see the situation as a whole for what it is. Only by stepping back from the situation to analyse it from both points of view can the observer remain positive and non-biased. An objective person hears all sides and questions all, to positively determine equity.

So we have here a problem that the trickster is either recruiting new flying monkeys to protect them and to persecute those who would expose them, or that nobody wants to get involved, has the effect of isolating whoever is exposing the trickster. In either case, the trickster has won their game. This is not to say the exposer wants to play any games.

For the purpose of being able to step back and analyse a situation for what it is, without being drawn into taking sides, it has become necessary to develop a simple framework to help with analysis.

For the purpose of being able to step back and analyse a situation for what it is, without being drawn into taking sides, it has become necessary to develop a simple framework to help with analysis.

The following blueprint has only six steps, which outlines a strategy. Many variants exist. We are calling this The Llanelli Strategy although it is also called “Changing the Goalposts”

1 Establish situation.
2 Agreement. An accord.
3 Second party acts on that accord.
4 First party removes and/or changes the accord. This has the effect of changing the context of 3 the actions.
5 Second party has a human reaction of the ground being whisked out from under their feet and is destabilised.
6 Having been manipulated, second party is now socially persecuted both for having been duped ergo inferior and/or for behaving (see 3) in the wrong way in accordance with the framework of the new context. That the second party has not agreed to the new accord is irrelevant to those who are in agreement with it (flying monkeys).

I have personally witnessed this occur in all levels of society from and including but not exhaustively: single mothers, social workers, school teachers, family counselors, job centre, private enterprise, police, solicitors, mental health functionaries, GPs, nurses, &etc; in all cases the strategy is employed for the purposes of manipulating individuals so as to take from them.

Dealing with this situation has only two possibilities. The winning strategy is not to play it at all, which is impossible. The game is about ‘being played by’ narcissists and their support/abuse network.

There are three aspects of this, correlating to stages of the 6 step strategy;
2 Do not agree. Solipsism in the community is impossible. Aloofness is.
5 Distangle.
6 Expose. This requires indisputable proof (actual evidence which is actual evidence).

Remember: onlookers will enter the situation at step 4 and will be using the new dominant narrative as their operating framework, which is pitched against the target. The flying monkeys rarely know that they are being manipulated. They believe they are the good guys, although by their actions (they are step 2 and 3 in a game while the target is at 5 and 6 in a different game) they are in effect persecuting somebody who has been selected by an abuser who they believe to be a hero. They are also targets being manipulated as part of a larger game.

The defence is to open their eyes to that they are deluded and to objectivity (to change their minds thus recruit them to persecute the abuser instead of the abuse victim). It is all about Context Control.

Unfortunately, the targets context is the one perceived as being abusive; so nobody wants to see things that way. The target is calling for people to question their own actions, which nobody likes to do because it is too close to feeling destabilized for comfort. Spiritual disciples do that by default, which is in part why they are targets by those seeking to dominate others through context control.

The fundamentalist and dogmatic part of the mind which we rely on for stability, is commonly called the Ego (not what Freud and Jung used the word to mean). Narcissists rely on that.


Monday, 4 June 2018

Weaver Bane

W:tA Character Development Background

In real life, Celtic shamen. Developing imagination is crucial to that purpose. Hence, a group of role players. We shared many experiences as many people through many worlds. My own heart however returns always to a place it calls home: Werewolf the apocalypse.

We recognised how strongly the Fianna tribe had been influenced, not by authentic Celtic culture and beliefs, but by its postChristian reinvention and the modern official groups claiming expertise while simultaneously entirely missing the point.

We discovered that the Uktena tribe more closely accurate to authentic Celtic culture.

There is a lot in Fianna which is inspired also by well-documented Irish mythology. The umbrella term Celtic includes that however the majority regard Irish tradition has its own unique thing. European counts in their various waves, have much in common with Norse. Therefore for these purposes we are including Norse also within the umbrella term Celtic. Academically and historically this might be in accurate however the cross cultural influence between all of these groups during times of war and trade, peace and integration, exploration and generation after generation of conquest and spiritual development, which has gone undocumented in the material world, Yet which showman are very well aware off. These are seldom to be found associating with those theatrically ritualistic actors officially claiming to be the so-called experts.

As a result of this, we had to make a choice. Do we change the Canon material so that the Celtic form of Uktena tribe rains in Europe, or should we alter the Fianna tribe so that it accords more with our desire for authenticity?

My group did not fully answer this question. We did however attempt to explore it, At first by using our version of the Viana tribe, and secondly by using a European version of the Oktana tribe.

Following this, we decided to try a completely different approach to the game and create characters from the other tribes. As a result, my first characters were versions of the same thing drawn through different parts of the canon character creation rules, the intent of which really was that it was the same character. My second character, a different persona Is more closely based upon myself. It is a lot of fun to do this.

My group eventually split because emigration after numerous travels, journeys of discovery.

Genis; that which follows from its own creation, from where we get the words genius, genesis and journeys. See: Get. From Ge, earth; which relates to age.

All that has gone; we are on the new page. It is a fresh day. The world of now is renewed. The harmonic is unique.

As I earth myself;
As I write these words;

A golden-red, copper colour flying insect, fire in flight, landed on the camera eyepiece of the iPhone into which I am narrating. As a GlassWalker, I cannot ignore the symbol and the spirit of the Weaver.

It is time to blog this.

GlassWalker Theurge

There was a swarm of flies in the town this week.

Brought on by the unusual wave of heat; so they say.

Always a deeper story.

Always a deeper story but it costs you scars to know.

Around here that ain’t cheap.

This town is septic.

The wounds do heal in time but they leave a taint in the blood and it keeps.

I did not want to settle here: I had to.

Against instinct, against wisdom: for duty and for responsibility.

I was sent here because I’m a lone wolf and I’d trod on paws.

To prowl, to scout the place, find out the score.

Something is ill here, something behind the skin.

A scent on the air when the wind changes.

It’s a coastal town, a bay.

A tin town where ore from the hills was brought down by rail and processed in the factories.

All that has gone now, faded away, not even a memory these generations later.

The big smelting works which poisoned the bay the same way sewage outlets do now, has been torn down and replaced by a coastal walk, pretty for people. Its canker still washes upon the shore, light black rock like meteor.

Mor, Sea. Morfa, by the sea. Welsh words. Mor like Mort, and More; L’amore.

I met a witch so dark I could not resist.

Like everyone here, she wears a mask and I hoped so much for its truth that I could not see through it, not until later. Sometimes the Wyrm has mysteries beyond comprehension.

We share a cub, born of Human to Garou.

It transpired after, not Human at all. A cunning cadaver, ancient from the gypsy folk of Europe, having fled the industrial and social revolutions of the great wars a century ago.

So I became tainted. I let her to live for the cub’s sake. A boy needs a mother, even such as she.

He’s not yet of age to tell what he is but I watch his rage and I know well when the time comes he’s going to need me as I’m going to need the pack with whom I seldom moot, because we are so far and so few in number in South Wales, off the beaten track.

Out here I study virtual reality environments, digital dreamtime, the cyber realms a blessing of company in my loneliness. I design urban architecture which investors build in distant cities.

And I roam. And I hunt. Rural Wales is easy for one so long in the tooth as I.

Because it is so difficult for those who are not; and for those unknowning of its ways and of its wylds.

There was a swarm of flies in town this week and I need to find out why.


Friday, 25 May 2018

Space Trash

Space Trash

SnakeAppleTree On Science Fiction

There is too much really good science fiction out there, to realistically be able to read it all. Even if it is all you do with your life and you are a really fast reader. The original masters of sci-fi foresaw this outcome and did not write prolifically. They were better quality writers too. They had more to say, made more of an impact on the readers imagination, and did it with both finesse and succinctly.

After the mid-eighties it became ‘the thing to do’ to write a lot of bland science fiction which does not really say very much at all and which requires epic masterpiece door-stopper multi-novel series to wade through. There are perhaps a handful of exceptions. It gave the generations who grew up watching Trek Wars something to do. Most of it says the same thing as other writers in slightly different but equally as lengthy processes.

This has been the governing recognition of my own humble approach toward writing science fiction. The kernel of an idea fleshed out decades later during revisions and edits, before anybody see’s it at all. Admittedly, some of the best of my own works did come through me for their specific goal of being published by Bright Metallic magazine, for its niche audience; before so many other sf writers jumped onto that bandwagon and swamped it with so many applications that the magazine folded under the weight of demand. It proved that there are far more sf short story writers out there than anyone can hope to ingest.

This is the best advice for anyone starting out or already writing science fiction: Minimalize it. Do not write science fiction for the sake of it, because the tv companies will whip your ass with the same idea before you get to show anybody. Find something better to do with your time, such as reading more of it only to discover that whatever you wanted to write about and thought was innovative and new, has already been done to death and better than you ever could. 

Nobody is going to read your stuff. And if they do, most of the readers will think its crap compared with everything else already out there. This is the most difficult thing to realise about being a sci-fi writer. They did everything we could ever think of already way back in the nineteen-fifties. By the nineteen-seventies the next wave did everything we didn’t think of ourselves yet, but you never heard of those because you aren’t dedicated enough to the genre to have found them and read them. And most of them were crap too.

A handful of names do still stand out. Those, strangely, are not authors who identified themselves as mainly science fiction writers per se, but who turned to the genre as a sideline because it was appropriate for getting their other ideas out. Writers who most of their work was sociological, contemporary and/or historical.

The one exception - and it truly is the only one exception worth discussing, is Philip K Dick. His books, not the 'wtf is this shit?' tv series. It is going to be another fifty to a hundred years yet before his precognitive vision becomes old and outmoded. But then as was said of both Star Wars and Blade Runner: “The Future is Ancient.” 

Having said all that; in case you are interested, some of my sf short stories can be found HERE 

Hey, you ...
But if you want a real treat ... 
(backstreet technodrug pusher mode) 
... this sweet little snippet will get you into some of the really good stuff ... 

Thursday, 24 May 2018

for WIKI draft1


Notes for a Wiki 

Philosophy, Socialism, Spirituality 

Regards the accumulation of accolade as a game played by knobs seeking Affirmation in the form of social prestige. As opposed internal integrity.  As such, a philosophy based on eastern disciplines rather than an Ayn Rands’ Objectivism. In objectivism, the external universe is the focus whereas mastery of internal harmony is far more important to the spiritual adept. It is a philosophy which draws sources also from the mystery schools of Europe which were influenced by those of Celtic Europe and middle eastern cultures of history.

Spiritually, snakeappletree follows the three worlds model of aboriginal cultures; the world of nature which exists independently of man, the world of spirit which exists independently of man, the world of human concerns; these overlap although  we must learn to balance them in our lives  for us to survive (the others will continue with or without us) instead of ignoring and exploiting those others. This should guide our lifestyle. Following on from this the Budo creeds which gives into Zen and the minimalist aesthetic.

To live this way, as an ascetic and as a shaman, is to open one to ridicule and persecution from the western world, most especially those supporting the Departmentalised, compartmentalised, static system. Within its worldview, shamen are by default schizophrenic, mentally ill rather than the healers and spiritual wisdom keepers all other cultures recognise them for. This is a cultural schism. As an independent archeo-historic researcher, the wall of ‘the official version’ is a problem both for integration and for progress. 

At University in the Midlands (“a place to be at the turn of the millennium”) introduced to the works of Carlos Casteneda and Yaqui Indian methods of perception training. At the same time, the medicine teachings of Estcheemah through hyemyohsts storm. Academic lessons in psychology, philosophy and primitivism in art which developed into the post-industrial cultural Renaissance of the 20th and early 21st centuries. Study integrating internal harmony of these concepts with external events; so as to explore the nature of the reality construct, in accordance with the Hermetic European mystery philosophies. Working with several study groups using whichever method is applicable to comprehend ‘the Manifestation principle.” The culmination of explorations of many mystery schools for examples the order of the Golden Dawn and it’s many derivatives, into Chaos magick and beyond.

Moved for several years to Somerset where studied intensely the Eros factor of the European cult of Thanateros, advancing the methods of founder and high priest, Victa Corva Penfold of the Order of the Morning Star (which is not the same organisation as the one you will find on the internet, due to internal conflicts and reformation heavily inspired by feminist doctrine).

Return to live in south Wales where continued to study Shamanism and following Carlos Casteneda’s guidance, the Thanos aspect. Assimilating its multicultural roots, specifically Vodou and Candomble methods. During this time, funded by British government to travel to Egypt and as an academic researcher, independently discovered many cultural associations through etymology and symbolism between Assyria – Babylonia – Egypt – Mesoamerican – North American forms of spiritualism all rooted from the same source teaching. Travelled to Southeast, south and south-west of England to study with spiritists from diverse backgrounds. These travels,  persued under the guise of a folk player carrying an Irish style buzuki. 

Living in south Wales, ran an open-door policy underground recording studio for street musicians, discretely funded by the Welsh government. This resulted in a number of house parties and gigs at official state funded and unofficial secret free festivals. 

Founded a number of small budget animation companies including stop frame, video puppetry and digital. Of these, Ordo Octopia has become the central focus for releasing multimedia products and information through.

The moniker SnakeAppleTree evolved from its origin as the Egyptian hieroglyphic symbols for the name of a person, into a characterised fictional entity used for purposes of marketing Ordo Octopia products which is a standard practice in successful business enterprises. 

It’s alter-alias xeno-heart-feather / xeno-heart-blade Is used to release directly to the internet science fiction short stories from a series of novels; Sounds Of Space and Tales of the SpaceWays, also featuring SnakeAppleTree as a protagonist. These have a small and growing cult following. They explore issues of self identity and schizophrenia, ancient spiritual wisdom, the impact of real and fictional technology on culture and community, psychology, shamanism,, spiritism and myth, the suspension of disbelief and the power of imagination in terms of human evolution. 

Thursday, 17 May 2018

SF:3D 18.5.18


I watch sci-fi. 

Really into it. 

Almost (but not quite) exclusively it's what I watch when I watch a movie. I am more often dissatisfied that I have seen as much of it as I can get my hands on than I am excited about something new coming out. Somehow, these three movies all from 2017 slipped by me un-noticed.  It is possible I saw one or more of them and simply forgot. That does happen, what with the custom neural re-wiring (amalgamemory™) I am involved in. So this weekends project is to make reviewing these a mini-project while making 3D architecture in another window. (link to follow)

I am initially visually attracted to Black Hollow Cage and InControl because they both feature the exact same symbolism SMALL BLACK CUBE * with its planetary associations with Saturn which David Icke is warning us about, statues of it existing at all the Illuminati HQ's and real home video footage of black cube spaceships exiting hyperspace in the skies of our planet. I wrote more about this topic HERE.

The third movie in this tryptic MindGamers is put in there only for comparative purposes with In Control because it has the same theme. Those are both pet projects wherein the screen-writer is also the director while BHC has a bigger team.

* NERDGASM: The Black Cube is also mentioned in Frank Herberts Chapter Dune sextet, Darwi Odrade makes a sculpture of it inspired by both Van Gogh's Chaumes de Cordeville à Auvers-sur-Oise and a Dunetech allowing an art appreciator to experience the artist creating the work in the first place (application of every brush stroke and the feelings deciphered from it) although I cannot recall whether it was Heretics of Dune or ChapterHouse Dune. 

All copyright images used non-profit, fully accredited, within international fair use policy for educational purposes.


"Thirteen-year-old Alice lives with her father in a secluded house in the woods, where one day she discovers a mysterious device that can send messages through time."


"College kids discover a device that allows them to take control of others and experience the world through someone else's body."


"Young bio-engineers discover that quantum theory can be used to transfer motor skills from one brain to another. As the technology spreads, dark forces emerge and threaten to subvert their technology into a means of mass control."
Initial release: 28 March 2017 (USA)



theme: isolation, individual internal, learning to trust,

A soon to be teenage girl undergoing extreme difficulties with self image and all the emotional mental conflict occurring with that. She is being trained in a remote research facility albeit a homely one, to use a prosthetic arm which reacts to the thought alone without being hardwired to her neuro-system.

When she discovers the black cube in the woods, a host of symbolism ensues, unanswered questions. The box opens and provides her with a slip of paper upon which is a handwritten note. Back in the safety of her own living space, she copies the note and recognizes it to be exactly the same as her handwriting. She has written this to herself, somehow.

There is a dreamlike quality to this film. We are faced with the suspension of disbelief. A sense of wonder. Is it more probable that some alien technology involving time travel or the ability to translate her thoughts into a material object with the properties of handwriting? Her companion who she calls mother is a dog fitted with a speaker device which translates brainwaves to human speech so she can talk with it. All of the technologies in the film suggest that the black cube could also be another technology created by the same laboratory.

The other possibility is that the forest is her mind assimilating all of her experiences; the black box is a fiction of her imagination as she does so. We are unsure whether to believe the black box to be a literal thing or a metaphorical device within the context of the storytelling. This same applies to the other technologies which within the context of the storytelling we are expected to believe are real within her universe. There is nothing to determine or even to suggest that one technology should be real while the other fictional. Indeed, from my own researches I know as a fact that the mind-to-voice technology fitted onto animals already exists.

There is a sense of foreboding and paranoia in the film. Not only towards the father figure but also towards the unexpected visitors who, like the black box emerged mysteriously in the forest and have had an affect on the daily lives of the people living in the house in the woods. The little girl, her dog/mother are afraid of all the other humans. If the black box is symbolism for her subconscious mind, it explains why the message on the note contains those specific words.

There is the sense of games being played, mind games; in the same sense as the psychopath in a horror movie toys with her victims. Here, most of the characters are children apparently as lost in the woods as the main protagonist. The opening scene clearly showed the father figure being brutally murdered, that’s invoking a sense of anxiety. It is unclear whether that is a dream sequence or that the rest of the movie is a flashback sequence leading up to that inevitable event.

So far the movie is about a little girl facing your fear where the relationship between individual and other people inclusive of those wearing animal bodies versus individual and technology. The girl trusts her speaking dog, she trusts mysterious dark objects found in the woods, but she does not trust the people. The one called father, she violently proclaims to hate during a tuition session where they both become angry with each others obstinacy.

Then it transpires at the end of chapter 2 during a heated argument between father and girl, that he murdered the mother and the dog is not actually her mother. The spots of explosive argument between these two breaks up the long quiet calm of the forest.

The other two decide to stay because the old guy likes the young girl, he comforts her in a scene where he stroked her hair and there is blood all over the wall. The main protagonists envy of the girl is evident but we have no idea tall of the relationship between father and the new girl. The new girls brother just watches, usually with no T-shirt on.

I really don’t know what the point of watching any more of this movie is because quite frankly it boring and toxic.


theme: Remote Electronic Mind Control

She is heavy breathing.
Women heavy breathing means either sex or panic.
Sometimes exertion/exhaustion too.
All three of these are summarized by various levels of; thrill.
All three are vulnerable, states of openess.

Opening scene, the middle of nowhere, a blonde woman crying for help into her phone, most certainly she is not in control. Will she become a Sarah Conner / Eleanor Ripley by the end of the movie?

Visual image of an exotic looking computer chip in a small foam lined case, straight out of ShadowRun.  She speaks into Marks answerphone: "I don't know whats going on." 

She is not the best actress, certainly not the same league as aforementioned feminist idol superheroines. To be expected from a lower budget movie than those so it is unfair to compare. The tone of her voice sounds like she is acting, more than it sounds like she genuinely

The viewer is being asked to suspend disbelief and flow with her narrative.

Unsure what level to accept that at.
Is she a femme fatale or a damsel in distress?

What are we being introduced to here? The computer chip means big business means murders and conspiracy. It feels stolen or that she is its creator, on the run from murderous thieves. The viewer projects this because it is standard fare for these situations. Conjecture. Or am I cynical?  The necessity to keep an open mind and accept her narrative for the story to make sense as a reality, bypasses all of that.

We are being programmed. Clearly, all the symbolism works on several levels to establish this.

Then blah blah cut to a scene with a mansplaining young professor type and a different blond girl, jogging. Next scene, next layer of onion ring, same symbolism. Blonde woman running. She happens to be the exact clone copy of a college girl I shared an interesting bedroom scene with in my late teens.

Now I am suspending my disbelief because this has suddenly gotten personal: barb 1.

But this girl, she does not contact two unavailable people on answerphone asking for help, instead she looks at two happy people (equivalents) and is more insular. Close-up shot of her body language 'accepting something internally'. She uses a computer (same symbol as "the chip" in previous onion layer), but is not doing so well in her college assignment (C- grade for her essay, the lowest possible 'pass').

Basic insect level coding. It works. That chip symbol is powerful.

Perhaps now is the time to explain that the first blonde girl, the lost one, followed up during what I described as 'blah blah' by wrecking her car; flipping it over on the only other object in the middle of nowhere which just so happened to be a perfectly placed ramp, the sort always found lying around on roadsides in the middle of nowhere.

The young lecturer guy was talking about how mobile communication technologies have resulted in a generation who do not understand 'being alone' the way the older generations did. Nowhere is dangerous. You flip cars over there and probably die.

[break time]

"Panopticon. It plays on the idea that if you believe you are being watched, you behave differently. It was a prison design. All the prisoners were around it, there was a guard in the middle that would monitor, but; none of the prisoners knew who was being watched." Samantha

Panopticon: strangely the name of a band I was in during my twenties and a series of graphic novels produced as a tie-in (Panopticomics). Suspension of disbelief getting personal: barb 2.

"If there were no consequences, what would you do differently? If no-one was watching?"  Mark

"As you say." He added; throwing the perception back into her court by emphasizing: these are her words and she is self-responsible for her own decision making. These intelligent characters adept at a form of deflection which highlights the other persons sense of importance. The story so far is underlaying these layers of perception.

Wait a minute ... is this the same Mark from scene one who car-crash-blond left a desperate message on his answerphone? This time he answers his phone despite it not ringing, explaining to whoever the scans came back fine.

Since the movie has made this personal twice, arguably three times by working on these planes: I feel both permitted and objectively obligated to take a liberty of inserting my own personal dogma here:

The Creed

Accountability is Credibility.
Responsibility is Respectability.

Samantha receives parking ticket. Not having much luck with their vehicles, these blondes. She goes home. Mark calls. He has been thinking about what she was saying. There is something she should come and see.

Jenny's place. Mark and Jenny introduce Sam to Victor the confident college drop out. They have all heard about her prison essay. In Jenny's room is a BLACK CUBE with cables coming out from beneath it. Victor stole it from the university two months ago, because obviously universities justy ahppen to have stuff like that laying around unguarded without the general public being aware it even exists. Jenny is brunette and is hooked up to it like sleeping beauty. 

"She's very much awake." Mark

"Some sort of virtual..." Samantha

"It's a little more complicated." Mark
"she's hooked up to this thing, and she's what?" Samantha
"She's somebody else." Victor

Mark turns to Samantha and says; "Jenny."
Samantha writes on a piece of paper: Hi Sam. It's me, Jenny.
Samantha steps back, reads the paper in her hands.
"What the hell? You did that?" Samantha
"No. You did." Victor

"There's something called 'taking a ride' we like to do to get to know somebody." Mark

"You can just go along. How they're feeling can affect your judgement. How they hear, see, feel things. Just focus on where you want to go. The person has to be nearby that you hone in on. Your mind will do the rest. There are certain limitations. Like, its still you in there. You can't look back on what they know, there's no control of memory." Mark

I told you: this is ShadowRun.

From this point onward, the movie can become any number of potential story lines.

Samantha tests the technology. We see a girl sitting at her family dinner table feeling really weird, and a guy resumed father asks if she is alright because her mannerisms change as Samantha takes over.

"You have to remember that these people think they are choosing to do what you make them do. Its not them you have to worry about, its the people around them, their friends, their family." Mark

"So they think they're making the decisions you make." Samantha

"People tend to justify their own actions above anything else. It's surprisingly hard to break. Try it on your own sometime, you'll find yourself doing pretty much everything on impulse." Mark

The group of four psychonauts discuss next sex and riding on the other gender's body. It's pretty much what they mostly get up to with the amazing device. Wouldn't you?

I'm a leave writing any more for this movie review right here.

"The essay is supposed to relate the panopticon as a theory to our modern society, that we behave differently because of possible surveillance, or influence of higher power." Samantha


theme: collective consciousness, control, 

Researching available screenshots in google I recognized that I did already see this movie. It is stylish and confusing. It deserves to be a series, to give it space to develop characters and ideas more, without unnecessary filler but to do justice to the great ideas it contains. It's very theatrical with more budget spent on sets and hiring reknowned actors to add merit, rather than innovative script because being a sci-fi fan I have seen this movie already in various guises a bunch of times.

screenshot from MindGamers: black cube symbology

Vincent Van Gogh: Cottages At Cordeville-Auvers-Sur-Oise


SF shorts:   Rakka and Dedelo

Sunday, 8 April 2018

At The Feet Of The Sphinx

Compare these two photographs.

You are looking for common architectural features.

Here is a clue:

Take Note of how Egyptian Pyramids have a distinct style, American Pyramids ghave a different distinct style, and both of them evidently feature the very same motif (which for want of a better description we shall call "Sphinx Feet" at their base).

Here are links to those videos:

Here are the videos:

Vintage photos of excavations in Egypt First part

Extremely Advanced Ancient Civilization Evidence That Will Leave You Absolutely Bewildered


In  Extremely Advanced Ancient Civilization Evidence That Will Leave You Absolutely Bewildered video;

At approx 7 minutes, is footage from the Isle of GOZO (Ggantija in Malta) from 11,000 years ago.

I am sure that's the ancient name for the demon in Ghostbusters.

The video clearly shows dwellings made of stone, complete with alcoves 

*** which look like the ones in Skara Brae (Scotland) ***

Wednesday, 28 February 2018



“We live in capitalism. Its power seems inescapable. So did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art, and very often in our art, the art of words.”  Ursula K. Le Guin

Usury is a crime against God.
When we discuss usury we usually refer to it in reference of capitalism.
Usury is not only about money. Capitalism is not only about Money.
It is a mindset based on exploitation.
A trap, a noose, to capture into one more energy than one is exerting.
It is not an equality based strategy.
It is however a sin against God.

Non-monetary capitalism requires an example.

There are so many possible examples that we take it for granted as ‘normal’. These examples are invisible to us and when highlighted by being pointed out to us and having it explained, people react defensively by shouting down any perception that we might be erroneous in our behaviour. 

People attempt to decry and debase anybody who is pointing out that they have made a compromise with society to endorse the assumption that the way we do things is not wrong. A hundred years ago it was normal and acceptable to own slaves. So ingrained into a cultural mindset that anyone who spoke about how wrong it was, that it was inequality, was regarded as crazy and dangerous to the infrastructure.

Example: She desires Attention from friends and strangers. Attention is energy.

She tells a story about how upset she is that the man she fell for turned out to have been schizophrenic and therefore, with his mental difficulties, unsuitable as a life partner. She still cares for him but not with the same hope that she once did they might settle together as a family unit. Her story is based on a real person. He is not there to defend himself against the allegation that he is schizophrenic.

People believe her and gave her sympathy, tell her that she has a good heart for caring about such an unfortunate soul as the man who she had a brush with and a narrow escape from. Degrade the dirty, sweep it under the carpet, we live in a better society than one where crazy people l even exist. Good people pity unfortunates but do not wish to entangle with them. Social stigma against the mentally ill.

The guy is being capitalised upon. She is capitalising on him. She is exploiting others by exploiting him, by slandering his reputation. She gains from it. He is the fall guy.

She requires validation from others who tell her that she is a good person. Why? Were she, she would not need such validation. She would know it from inner connectivity with divinity. Good people do. She is imbalanced, living in sin (without divine connection). Seeking to fill in the painful hole in her, the missing thing, she requires others to temporarily reward her by listening to her problem and rewarding her with pretty words. They comfort her. It distracts her from the suffering. It might help her to reconnect with divinity by persuading her that she deserves such connection. Equally it might further distract her from achieving that connection. Balanced union within self.

The other people later encounter the man she had described to them. They recognise him from the visual description and are wary, making excuses to leave fast because they do not want to be contaminated by involvement with a crazy person. From his perception, he has no knowledge that he has been victim of slander. He finds their behaviour unusual, their attitude toward him derogatory. People who, had they bothered to get to know him on a one on one basis, would find him normal, pleasant, interesting and intelligent, with many shared interests. Instead he is left feeling lonely, a little confused about the anti-social attitude of people around here, and he decides not to visit this particular community centre again because the people there are creeps.

This is commonly called gas-lighting, a term named after a 20th century movie where a man persuades his wife that she is going crazy by altering the amount of gas going into the lights, so that the light level varies. He tells her that there is nothing wrong with the lights, that it is all in her imagination, that she is delusional. Once she begins to question her own sanity and believes that she is delusional, instead of trusting her own senses, she is no longer fully functional as a reliable person. After that that point, not before, she is technically insane (insanitary, it means dirty, polluting, toxic).

The problem stems from the singular point where a person puts their faith into trusting words by other people to be the reality, instead of trusting your own senses to be the reality. If a person can persuade a majority that blue is red, they will see blue and call it red. They will reaffirm to one another that blue is red by collectively agreeing that to be the case. Books, movies, educational systems, will be built to strengthen the indoctrination, all the time undermining the reality, the truth. They will call that delusion ‘normality’. Anyone who says, “no thats not red; thats blue”, they will describe that person as antisocial, insane and a problem maker. Compromising with Society necessitates that we do this all of the time. Society can not function without it. 

Humans however, can function without society. The historical precedent is that we function better without delusion. When the delusion becomes mainstream, that is the zombie apocalypse. You are in the middle of it. That you do not recognise this to be the case is a symptom of it, proof that you are one of them. Your initial reaction will be to laugh and reject it because the foundation of your reference system is not connectivity with the divine harmony. Your internal reference system is the delusion arising from compromise with society. It has turned you into one of its zombies. You are an agent for it. To undo that level of indoctrination requires a lot of work. Society if it can get away with it will turn against you and label you as insane, as a dissident.

“If you are not part of the solution, you are the problem.”

The Questioner of Loaded Questions.

He requests evidence from anybody at all that he is schizophrenic.
Nobody can provide this.
His actions are not those of a schizophrenic.
Other people say that he hears voices.
How would they know such a thing? He makes no such claim.
Other people pressure him and demand to know more about what it is like for him to hear voices. So he tells them that voices pressure him and make him feel uncomfortable. That they try to control him.

What he means by this is that the person asking the question spoke using their voice. He did not want to reply because it is a loaded question, an assumption, they are projecting onto him their fallacy that he hears voices and demanding to know about it. They are demanding he play their game, a game called “I say you are crazy, verify it.” He does not want to play that game with them. But they are pressuring him and attempting to control his reaction.

Hearing the voice asking the question he replies; ‘the voice is pressuring him and making him feel uncomfortable’.

Nobody has mentioned whatsoever that these are hallucinatory or figments of his imagination. They assume that by their not explaining this distinction, he will also make the logical jump that they are all agreeing they are discussing about the same undisclosed thing which they are goading him into. The questioner does this because of a social convention in which when discussing these matters it is normal to use the key phrase “hearing voices” to indicate “hallucinations” as opposed to the technically correct phrase “hearing imaginary voices.” These are two distinct entities. He replies directly to the words actually asked, because he does not accept to replace one with an undisclosed other. To do that would be insane.

The questioner goes away from the meeting feeling verified that the guy they have just spoken with is delusional and hears imaginary voices. He however goes away from the meeting knowing this  about the whole situation laughing at the delusion within which the aggressive questioner lives without them even recognising it. He has told it straight and told the truth. It is the questioner who has changed the context of the conversation from what was actually said to mean something different from what was actually said. That is manipulation. That is capitalism.

They have gone away having achieved more from it than was actually occurred at the time, because of their fiction, to the detriment of his reputation. This is why he does not trust these people. He does not accept modernity because he is spiritual and intends to align with the actual truth. He is not responsible for their confusions. Although when they do communicate with him, he does not further their confusions by conceding to put energy into a delusional version of the world. He tells it straight.

Their books say this: his lack of trust in modernity is a form of psychosis.
The book he is reading says this:
To know truth you must be truth.
To be truth you must align with truth.

There is a lot of guidance in the holy texts regarding how to behave when dealing with sinners. Sin literally means without; without ‘god’, without holiness, without spirituality. In essence; without Truth. You do not have to believe in ‘god’ to accept the wisdom of this. You do not have to believe in ‘god’ to recognise what is meant by it. It applies whether you believe in ‘god’ or not.  The very first question you should ask is “what is God?” Best answer so far: that Truth is the fundamental harmonic of the universe, of Life.

So many people compromise with society that they lose their connectivity with the divine. It is not always a conscious choice, although at some level you face up to it. Right here and now, face up to it. Am I going to go onward in Truth or in Sin? To accept confusion over reality, or to accept truth over socially re-affirmed delusion. This is not to persuade you that reality is god and sell you a religion. Far from it. It is the opposite. To sin is not a specific act of sin (and there are many healthy activities commonly described by society as sinful) but rather to go about ones activities from a godless base, an unholy frame of reference. To act in accordance with that mind which is without spiritual awareness.

Usury is the major common sin. 

Protective mantra to memorize:  

“That’s in YOUR world.”