A Proper Gander At Propaganda

TRUTH TRANSCENDS COMMUNITY

PLEASE NOTE: This is not a conspiracy theory blog.

This website exists to serve as public resource for reverse imagineering world-wide culture, one that takes a critical look at the numerous artifacts and other types of relics that represent our shared collective international heritage. This blog is dedicated to examining social engineering and the use of tax funded governmental propaganda, and the mainstream media, as international human resource management tools.

About The AA Morris Proper Gander At Propaganda Podcast: Coming to you from one of the suburban metropolitan melting pots of international culture, outside of one of the multimedia capitals of the world, New York City, the Proper Gander at Propaganda podcast is meant to be a filter free look at our shared international cultural heritage, our shared social media infused and obsessed present, and what our children and their children could be looking forward to. This link will bring you to the podcast page of this website, with embedded squarespace audio: link: http://www.aamorris.net/podcast/

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Thomas Pynchon - Gravity's Rainbow

 

"If they can get you asking the wrong questions, they don't have to worry about answers." – Gravity's Rainbow

Article last updated:  8:03 PM Wednesday, January 10, 2018 Greenwich Mean Time (GMT)

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image source: Stoners GIF - Find & Share on GIPHY

(Adult content warning)

Gravity's Rainbow: Post Modern Allegory

"Gravity's Rainbow is a 1973 novel by American writer Thomas Pynchon. Lengthy, complex, and featuring a large cast of characters, the narrative is set primarily in Europe at the end of World War II, and centers on the design, production and dispatch of V-2 rockets by the German military. In particular, it features the quest undertaken by several characters to uncover the secret of a mysterious device named the "Schwarzgerät" ("black device"), slated to be installed in a rocket with the serial number "00000". Traversing a wide range of knowledge, Gravity's Rainbow transgresses boundaries between high and low culture, between literary propriety and profanity, and between science and speculative metaphysics. It shared the 1974 U.S. National Book Award for Fiction with A Crown of Feathers and Other Stories by Isaac Bashevis Singer. Although selected by the Pulitzer Prize jury on fiction for the 1974 Pulitzer Prize for Fiction, the Pulitzer Advisory Board was offended by its content, some of which was described as "'unreadable,' 'turgid,' 'overwritten' and in parts 'obscene'". No Pulitzer Prize was awarded for fiction that year. The novel was nominated for the 1973 Nebula Award for Best Novel. TIME named Gravity's Rainbow one of its "All-Time 100 Greatest Novels", a list of the best English-language novels from 1923 to 2005 and it is considered by some critics to be one of the greatest American novels ever written."

"Schwarzgerät" ("black device") is a MacGuffin - a plot device.

"The MacGuffin's importance to the plot is not the object itself, but rather its effect on the characters and their motivations:"

source: https://en.wikipedia.org/wiki/Gravity%27s_Rainbow  •   MacGuffin - Wikipedia

Gravity's Rainbow

Thomas Pynchon - Gravity's Rainbow | Qwiklit  source: Qwik Lit


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The Proper Gander At Post Modern 'Ballistically Launched' Propaganda Macguffin

"There was a white mouse consultation, down at the county fair. All the church mice, field mice and not so nice mice, everybody gathered there. You see the muckidy muck he was speakin', tellin' them where it was at. He said hear, hear there ain't nothin' to fear except a three eyed Siamese cat. And the crowd was stunned, see, no single mouse had ever seen one. He said don't be scared we're prepared."

source:  The Proper Gander Song

"Propaganda in the United States is spread by both government and media entities. Propaganda is information, ideas, or rumors deliberately spread widely to influence opinions. It's used in advertising, radio, newspaper, posters, books, television, and other media."  -  Propaganda in the United States - Wikipedia

"A man without a government is like a fish without a bicycle.” Alvaro Koplovich

Propaganda artifacts are real world 'MacGuffins' intended to literally shape and design human behavior.

"The MacGuffin's importance to the plot is not the object itself, but rather its effect on the characters and their motivations:"

source:  MacGuffin - Wikipedia


"If they can get you asking the wrong questions, they don't have to worry about answers." – Gravity's Rainbow

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image source: GOOGLE search

Gravity's Rainbow & The Parabolic Trajectory of A Ballistic Missile

"The novel's title declares its ambition and sets into resonance the oscillation between doom and freedom expressed throughout the book. An example of the superfluity of meanings characteristic of Pynchon's work during his early years, "Gravity's Rainbow" refers to:

  1. The parabolic trajectory of a V-2 rocket: the "rainbow-shaped" path created by the missile as it moves under the influence of gravity, subsequent to the engine's deactivation.
  2. The arc of the plot. Critics such as Weisenburger have found this trajectory to be cyclical or circular, like the true shape of a rainbow. This follows in the literary tradition of James Joyce's Finnegans Wake and Herman Melville's The Confidence-Man.
  3. The statistical pattern of impacts from rocket-bombs, invoked frequently in the novel by reference to the Poisson distribution.
  4. The introduction of randomness into the science of physics through the development of quantum mechanics, breaking the assumption of a deterministic universe.
  5. The animating effect of mortality on the human imagination."

"Gravity's Rainbow is composed of four parts."

Part 1: Beyond the Zero

The name "Beyond the Zero" refers to lack of total extinction of a conditioned stimulus. The events of this part occur primarily during the Christmas Advent season of 1944 from December 18–26. The epigraph is a quotation from a pamphlet written by the rocket scientist Wernher von Braun and first published in 1962: "Nature does not know extinction; all it knows is transformation. Everything science has taught me, and continues to teach me, strengthens my belief in the continuity of our spiritual existence after death."

Part 2: Un Perm' au Casino Hermann Goering

"Part 2: Un Perm' au Casino Hermann Goering" (French for "A Furlough at the Hermann Göring Casino") contains eight episodes.[9] The events of this section span the five months from Christmas 1944 through to Whitsunday the following year; May 20, 1945. The epigraph is attributed to Merian C. Cooper, speaking to Fay Wray prior to her starring role in King Kong, as recounted by Wray in the September 21, 1969, issue of The New York Times: "You will have the tallest, darkest leading man in Hollywood."

Part 3: In the Zone

"Part 3: In the Zone" comprises 32 episodes.[11] The action of Part 3 is set during the summer of 1945 with analepses (literary flashbacks) to the time period of Part 2 with most events taking place between May 18 and August 6; the day of the first atomic bomb attack and also the Feast of the Transfiguration. The epigraph is taken from The Wizard of Oz, spoken by Dorothy as she arrives in Oz and shows her disorientation with the new environment: "Toto, I have a feeling we're not in Kansas any more...".

Part 4: The Counterforce

"Part 4: The Counterforce" is made up of 12 episodes. The plot of this part begins shortly after August 6, 1945 and covers the period up to September 14 of that same year; the day of the Exaltation of the Holy Cross, with extended analepsis to Easter/April Fool'sweekend of 1945 and culminating in a prolepsis to 1970. The simple epigraphical quotation, "What?" is attributed to Richard M. Nixon, and was added after the galleys of the novel had been printed to insinuate the President's involvement in the unfolding Watergate scandal. The original quotation for this section (as seen in the advance reading copies of the book) was an excerpt from the lyrics to the Joni Mitchell song "Cactus Tree", so the change in quotation jumped a large cultural divide."

Plot Summary

"The opening pages of the novel follow Pirate Prentice, an employee of the Special Operations Executive, first in his dreams, and later around his house in wartime London. Pirate's associate Teddy Bloat photographs a map depicting the sexual encounters of U.S. Army Lt. Tyrone Slothrop, an employee of a fictional technical intelligence unit called ACHTUNG. Each of Slothrop's sexual encounters in London appears to precede a V-2 rocket strike in the same place by several days. Employees of a fictional top secret psychological warfare agency called PISCES, headquartered at a former insane asylum known as "The White Visitation" investigate Slothrop's apparent precognition, including statistician Roger Mexico and Pavlovian behavioral psychologist Edward W. Pointsman, among others. Slothrop's encounters and the rocket sites match the Poisson Distributions calculated by Roger Mexico, leading to reflections on topics as broad as Determinism, the reverse flow of time, and the sexuality of the rocket itself. Many characters not significant until later are introduced in "Beyond the Zero", including Franz and Leni Pökler, while others who appear significant in Part One, such as Thomas Gwenhidwy and Jessica Swanlake, vanish from the narrative and don't re-appear until the closing pages of the novel. Indeed, most of the four hundred named characters only make single appearances, serving merely to demonstrate the sheer scope of Pynchon's universe. Slothrop is also submitted to various psychological tests, many involving the drug sodium amytal. Flashbacks reveal the story of Katje Borgesius, a Dutch double agent who infiltrated a V-2 rocket-launching battery commanded by a sadistic SS officer named Captain Blicero, who kept Katje and a young soldier named Gottfried as sex slaves. Pavlovian conditioning is a recurring topic, mostly explored through the character of Pavlovian researcher Pointsman. One of the more bizarre Pavlovian episodes involves the conditioning of octopus Grigori to attack Katje. Early in part two, the octopus attacks Katje on the beach in France, and Slothrop is "conveniently" at hand to rescue her.

In part two, "Un Perm' au Casino Hermann Goering", Slothrop is sent away by his superiors in mysterious circumstances to a casino on the recently liberated French Riviera, in which almost the entirety of Part Two takes place. He is in fact being monitored by associates of Pointsman, including Katje and a linguist named Sir Stephen Dodson-Truck. Katje and Slothrop have sex after Slothrop rescues her from the octopus. At the Casino, he learns of a rocket, with the irregular serial number 00000 (Slothrop comments that the numbering system doesn't allow for four zeroes in one serial, let alone five), which features a mysterious component called the S-Gerät (short for Schwarzgerät, 'black device'), made out of the hitherto unknown plastic Imipolex G. It is hinted at that Slothrop's prescience of rocket hits is due to being conditioned as an infant by the creator of Imipolex G, Laszlo Jamf. Later, the reality of this story is called into question, as is the very existence of Slothrop's original sexual exploits. Slothrop becomes increasingly paranoid, and begins to suspect he is being monitored. He escapes from the casino into the coalescing post-war wasteland of Europe, "The Zone", searching for the 00000 and S-Gerät. In the closing of Part Two, Katje is revealed to be safe in England, enjoying a day at the beach with Roger Mexico and Jessica, as well as Pointsman, who is in charge of Slothrop's furtive supervision. While unable to contact Slothrop (or prohibited from contacting him), Katje continues to follow his actions through Pointsman."

"An extensive subplot details a schism within the Schwarzkommando; one faction is bent on a program of racial suicide, while the other finds mystical, semi-religious meaning in the V-2 rocket."

"Slothrop's quest continues for some time in Part Three, "In The Zone", as he is chased by other characters. These include the sadistic American Major Duane Marvy and a drug-addled Soviet intelligence colonel named Vaslav Tchitcherine. Slothrop meets members of the Schwarzkommando, a fictional cadre of African rocket technicians, descended from survivors of the Herero genocide of 1904 who were brought to Europe by German colonials. An extensive subplot details a schism within the Schwarzkommando; one faction is bent on a program of racial suicide, while the other finds mystical, semi-religious meaning in the V-2 rocket. Another long subplot details Tchitcherine's quest to hunt and kill his half-brother Enzian, leader of the latter group of Schwarzkommando. Slothrop is briefly involved with a young witch named Geli Tripping, who is in love with Tchitcherine. Later, Slothrop meets and has a brief sexual affaire with Margherita Erdmann, a former pornographic film actress and masochist. Originally meeting her in an abandoned film studio in The Zone, he is led on by her to the Anubis, a private yacht filled with uninhibited European aristocrats. Here, Slothrop has sex with Erdmann's teenage daughter Bianca, though it is unclear whether or not he has stopped his casual relationship with Margherita by this time. Margherita, along with her partner Thanatz, are revealed to know a great deal more about the 00000, S-Gerät, and Imipolex G than they let on. Margherita and Thanatz had brought their traveling sado-masochistic act to Captain Blicero's rocket battery, from which Rocket 00000 had apparently been fired in the Spring of 1945, towards the end of the war. Margherita spent many days in a mysterious and ambiguously described factory, where she was clothed in an outfit made from the "erotic" plastic Imipolex G. Towards the end of this section, several characters not seen since early in the novel make a return, including the book's first character, Pirate Prentice, as well as Roger Mexico.

"In The Zone" also contains the longest episode of the book, a lengthy tale of Franz Pökler, a rocket engineer unwittingly set to assist on the S-Gerät's production. The story details Pökler's manipulation by an SS officer named Weissmann, who uses annual meetings with Pökler's daughter Ilse to coerce him into working on the S-Gerät. Pökler becomes increasingly paranoid that Ilse is really a series of impostors sent each year to mollify him. Through this story, we find out sparse details about the S-Gerät, including that it has an approximate weight of forty-five kilograms. It is later revealed through flashbacks to Enzian's past that Weissmann and Blicero are the same person. Slothrop spends much of Part Three in various disguises, first as an English war correspondent, then as his invented alter-ego Rocketman, wearing an operatic Viking costume with the horns removed from the helmet, making it look like a rocket nose-cone. Rocketman completes various tasks for his own and others' purposes, including retrieving a large stash of hashish from the centre of the Potsdam Conference. This continues until he leaves the region for northern Germany, continuing his quest for the 00000, as well as answers to his past. It becomes steadily apparent that Slothrop is connected to Laszlo Jamf through Lyle Bland, a Slothrop family friend who apparently played a role in funding Jamf's experiments on the infant Slothrop.

Slothrop later returns to the Anubis to find Bianca dead, a possible trigger for his impending decline. He continues his pilgrimage through northern Germany, at various stages donning the identities of a German actor, a Russian soldier, and mythical Pig Hero, while in search of more information on his childhood and the 00000. Unfortunately, he is repeatedly sidetracked until his persona fragments totally in part four, despite the efforts of some to save him. Throughout "The Counterforce", there are several brief, hallucinatory stories, of superheroes, silly Kamikaze pilots, and immortal sentient lightbulbs. These are presumed to be the product of Slothrop's finally collapsed mind. The final identification of him of any certainty is his picture on the cover of an album by obscure English band "The Fool" (another allusion to Tarot, which becomes increasingly significant), where he is credited as playing the harmonica and kazoo. At the same time, other characters' narratives begin to collapse as well, with some characters taking a bizarre trip within a shared dream and another encountering the god Pan. Much of Part Four takes place within the presumably hallucinated "Raketen-Stadt", a fascist futuristic dystopia. Slothrop's storyline disintegrates a surprisingly long time before the novel's end, which focuses more on the 00000, and the people associated with its construction and launch (namely Blicero, Enzian, and Gottfried, amongst others). At this point, the novel also concludes many characters' stories, including those of Mexico, Pointsman, and Pirate, leaving only the 00000.

As the novel closes, many topics are discussed by the various protagonists around the world, ranging from Tarot cards to Death itself. The narrative even jumps forward in time to the 1970s, where a character named "Richard M. Zhlubb" operates a Los Angeles theater. Towards the end of "The Counterforce", it transpires that the S-Gerät is actually a capsule crafted by Blicero to contain a human. The story of the 00000's launch is largely told in flashbacks by the narrator, while in the present Enzian is constructing and preparing its successor, the 00001 (which isn't fired within the scope of the novel), though it is unknown who is intended to be sacrificed in this model. In the flashbacks, the maniacal Captain Blicero prepares to assemble and fire the 00000, and asks his adolescent sex slave Gottfried to sacrifice himself inside the rocket. He launches the rocket in a pseudo-sexual act of sacrifice with a bound Gottfried captive within its S-Gerät. The text halts, in the middle of a song composed by Slothrop's ancestor, with a complete obliteration of narrative as the 00000 lands (or is about to land) on a cinema."

Basis in reality

"Many facts in the novel are based on technical documents relating to the V-2 rockets. Equations featured in the text are correct. References to the works of Pavlov, Ouspensky, and Jung are based on Pynchon's research. The firing command sequence in German that is recited at the end of the novel is also correct and is probably copied verbatim from the technical report produced by Operation Backfire.

In reality, a V-2 rocket hit the Rex Cinema in Antwerp, where some 1200 people were watching the movie The Plainsman, on December 16, 1944, killing 567 people, the most killed by a single rocket during the entire war.

The secret military organizations practicing occult warfare have an historical backdrop in the Ahnenerbe and other Nazi mysticism, whereas the Allied counterparts were limited to certain individuals such as Louis de Wohl's work for MI5.

Additionally, the novel uses many actual events and locations as backdrops to establish chronological order and setting within the complex structure of the book. Examples include the appearance of a photograph of Wernher von Braun in which his arm is in a cast. Historical documents indicate the time and place of an accident which broke von Braun's arm, thereby providing crucial structural details around which the reader can reconstruct Slothrop's journey. Another example is the inclusion of a BBC Radio broadcast of a Benny Goodman performance, the contents of which, according to historical record, were broadcast only once during the period of the novel and by which the events immediately surrounding its mention are fixed. Further historical events, such as Allied bombing raids on Peenemünde and the city of Nordhausen (close to the V-2 producing concentration camp Mittelbau-Dora) also appear in the novel and help to establish the relation of the work's events to each other."

Style

"Poet L. E. Sissman, in his Gravity's Rainbow review for The New Yorker, said of Pynchon: "He is almost a mathematician of prose, who calculates the least and the greatest stress each word and line, each pun and ambiguity, can bear, and applies his knowledge accordingly and virtually without lapses, though he takes many scary, bracing linguistic risks. Thus his remarkably supple diction can first treat of a painful and delicate love scene and then roar, without pause, into the sounds and echoes of a drudged and drunken orgy."

Plot

"The plot of the novel is complex, containing over 400 characters and involving many different threads of narrative which intersect and weave around one another.[14] The recurring themes throughout the plot are the V-2 rocket, interplay between free will and Calvinistic predestination, breaking the cycle of nature, behavioral psychology, sexuality, paranoia and conspiracy theories such as the Phoebus cartel and the Illuminati. Gravity's Rainbow also draws heavily on themes that Pynchon had probably encountered at his work as a technical writer for Boeing, where he edited a support newsletter for the Bomarc Missile Program support unit. The Boeing archives are known to house a vast library of historical V-2 rocket documents, which were probably accessible to Pynchon. The novel is narrated by many distinct voices, a technique further developed in Pynchon's much later novel Against the Day. The style and tone of the voices vary widely: Some narrate the plot in a highly informal tone, some are more self-referential, and some might even break the fourth wall. Some voices narrate in drastically different formats, ranging from movie-script format to stream of consciousness prose. The narrative contains numerous descriptions of illicit sexual encounters and drug use by the main characters and supporting cast, sandwiched between dense dialogues or reveries on historic, artistic, scientific, or philosophical subjects, interspersed with whimsical nonsense-poems and allusions to obscure facets of 1940s pop culture. Many of the recurring themes will be familiar to experienced Pynchon readers, including the singing of silly songs, recurring appearances of kazoos, and extensive discussion of paranoia. According to Richard Locke, megalomaniac paranoia is the "operative emotion" behind the novel,[15] and an increasingly central motivator for the many main characters. In many cases, this paranoia proves to be vindicated, as the many plots of the novel become increasingly interconnected, revolving around the identity and purpose of the elusive 00000 Rocket and Schwarzgerät. The novel becomes increasingly preoccupied with themes of Tarot, Paranoia, and Sacrifice. All three themes culminate in the novel's ending, and the epilogue of the many characters. The novel also features the character Pig Bodine, of Pynchon's novel V. Bodine would later become a recurring avatar of Pynchon's complex and interconnected fictional universe, making an appearance in nearly all of Pynchon's novels thereafter. The novel also shares many themes with Pynchon's much later work, Against the Day, which becomes increasingly dark as the plot approaches World War I. Gravity's Rainbow takes these sentiments to their extreme in its highly pessimistic culmination of World War II."

"The novel is regarded by many scholars as the greatest American novel published after the end of the second world war, and is "often considered as the postmodern novel, redefining both postmodernism and the novel in general."

"Though the book won the National Book Award for 1974, Pynchon chose neither to accept nor acknowledge this award. Thomas Guinzberg of the Viking Press suggested that the comedian "Professor" Irwin Corey accept the award on his behalf. Pynchon agreed, which led to one of the most unusual acceptance speeches of all time, complete with a streaker crossing the stage in the middle of Corey's musings."

"Gravity's Rainbow was translated into German by Nobel laureate Elfriede Jelinek, and some critics think that it has had a large influence on Jelinek's own writing"

source: https://en.wikipedia.org/wiki/Gravity%27s_Rainbow

see also: Little Albert experiment


"If they can get you asking the wrong questions, they don't have to worry about answers." – Gravity's Rainbow


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Photo Composited Magic Mice in Platonic Projected "Outer Space"

Does this film sequence look like mice on a parabolic gravity defying rocket ride to you? This is what was put forth as Newsreel era evidence of the V2 rocket, Operation Paperclip, Nazi, scientists' efforts. This was put forth as one of the real experiments that proved Sir Isaac Newton's absurd imaginative musings correct. Do you see how when we turn the footage 90 degrees we can see that we are viewing nothing but visual propaganda from the Cold War era. Neither mouse is experiencing any kind of imagined "Zero-Gracvity".  This is just 1950's era, Walt Disney style darkroom magic. This is nothing but film illusion. A child can easily create this with a consumer level computer today. This type of aerospace fakery is now rendered with incredible CGI detail and the modern medium of the internet, especially YouTube, is home to many examples of similar military grade, aerospace marketing propaganda, that have no basis in any real demonstrable scientific principle. A lot more about this subject to come.

(For now please see the article index, or simply scroll past the end of this article, to the links towards the bottom of this webpage, for more about the topic of historical international aerospace fakery and similar subjects.)

Photo composited layers of film produce an on screen illusion of Hollywood mice taking a Gravity’s Rainbow parabolic rocket ride. Something some 70 years later none of us in the public can wait on a line to do. Outer Space is not a real place. It can only exist on a screen of some kind. It is an artifact of culture. Think of it as a relic of a secular state sponsored religious faith. The difference and 'joke', of course, is that the governmental tithes are legally enforced taxes we all must pay.

image source: NASA & Hollywood Cold War era darkroom wizardry.

"GLEE"

California, The Military Industrial Aerospace Entertainment Industry & Our Tax Dollars At Work

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image source: Pynchon’s Paranoid California with Michael Mark Cohen  source: Berkeley Arts + Design

Pynchon’s Paranoid California: A Conspiracy Based Allegory

"A map of the Military Industrial Academic Complex..."

FYI: The author of "Gravity's Rainbow" and "The Crying of Lot 49" Thomas Ruggles Pynchon Jr. is a former Boeing employee.

"After leaving Cornell, Pynchon began to work on his first novel: V. From February 1960 to September 1962, he was employed as a technical writer at Boeing in Seattle, where he compiled safety articles for the Bomarc Service News, a support newsletter for the BOMARC surface-to-air missile deployed by the U.S. Air Force. Pynchon's experiences at Boeing inspired his depictions of the "Yoyodyne" corporation in V. and The Crying of Lot 49, and both his background in physics and the technical journalism he undertook at Boeing provided much raw material for Gravity's Rainbow. When published in 1963, V. won a William Faulkner Foundation Award for the best first novel of the year. (It was a finalist for the National Book Award.)  After resigning from Boeing, Pynchon spent some time in New York and Mexico before moving to California, where he was reportedly based for much of the 1960s and early 1970s, most notably in an apartment in Manhattan Beach,  as he was composing the highly regarded Gravity's Rainbow. Pynchon during this time flirted with the lifestyle and some of the habits of the Beat and hippie countercultures."

source: https://en.wikipedia.org/wiki/Thomas_Pynchon

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Pynchon’s Paranoid California with Michael Mark Cohen

I highly recommend watching this video. It is very insightful.

Pynchon’s Paranoid California with Michael Mark Cohen  source: Berkeley Arts + Design

The Crying of Lot 49

"The Trystero may be a conspiracy, it may be a practical joke or it may simply be that Oedipa is hallucinating the arcane references to this underground network that she seems to be discovering on bus windows, toilet walls and everywhere in the Bay Area."

"The Crying of Lot 49 is a novella by Thomas Pynchon, first published in 1966. The shortest of Pynchon's novels, it is about a woman, Oedipa Maas, possibly unearthing the centuries-old conflict between two mail distribution companies, Thurn und Taxis and the Trystero (or Tristero). The former actually existed and was the first firm to distribute postal mail; the latter is Pynchon's invention. The novel is often classified as a notable example of postmodern fiction. Time included the novel in its "TIME 100 Best English-language Novels from 1923 to 2005". The novel follows Oedipa Maas, a California housewife who becomes entangled in a convoluted historical mystery, when her ex-lover dies having named her as the co-executor of his estate. The catalyst of Oedipa's adventure is a set of stamps that may have been used by a secret underground postal delivery service, the Trystero (or Tristero). According to the narrative that Oedipa pieces together during her travels around Southern California, the Trystero was defeated by Thurn und Taxis—a real postal system—in the 18th century but Trystero went underground and continued to exist into the present (the 1960s). Its mailboxes are disguised as regular waste bins, often displaying its slogan, W.A.S.T.E. (an acronym for "We Await Silent Tristero's Empire") and its symbol, a muted post horn. The existence and plans of this shadowy organization are revealed bit by bit but there is always the possibility that the Trystero does not exist. Oedipa is buffeted between believing and not believing in it, without finding proof either way. The Trystero may be a conspiracy, it may be a practical joke or it may simply be that Oedipa is hallucinating the arcane references to this underground network that she seems to be discovering on bus windows, toilet walls and everywhere in the Bay Area. Prominent among these references is the Trystero symbol, a muted post horn with one loop. Originally derived, supposedly, from the Thurn and Taxis coat of arms, Oedipa first finds this symbol in a bar bathroom, where it decorates a graffito advertising a group of polyamorists. It later appears among an engineer's doodles, as part of a children's sidewalk jump rope game, amidst Chinese ideograms in a shop window and in many other places. The post horn (in either original or Trystero versions) appears on the cover art of many TCL49 editions and in artwork created by the novel's fans."

"The Crying of Lot 49 was published shortly after Beatlemania and the "British invasion" that took place in the United States and other Western countries. Internal context clues indicate that it is probably set in 1964, the year in which A Hard Day's Night was released. Pynchon makes a wide variety of Beatles allusions. Most prominent are The Paranoids, a band composed of cheerful marijuana smokers whose lead singer, Miles, is a high-school dropout. The Paranoids all speak with American accents but sing in English ones; at one point, a guitar player is forced to relinquish control of a car to his girlfriend because he cannot see through his hair. It is not clear whether Pynchon was aware of the Beatles' own nickname for themselves, "Los Para Noias"; since the novel is replete with other references to paranoia, Pynchon may have chosen the band's name for other reasons. Pynchon refers to a rock song, "I Want to Kiss Your Feet", an adulteration of "I Want to Hold Your Hand". The song's artist, Sick Dik and the Volkswagens, evokes the names of such historical rock groups as the El Dorados, the Edsels, the Cadillacs and the Jaguars (as well as an early name the Beatles themselves used, "Long John and the Silver Beetles"). "Sick Dik" may also refer to Richard Wharfinger, author of "that ill, ill Jacobean revenge play" known as The Courier's Tragedy. The song's title also keeps up a recurring sequence of allusions to Saint Narcissus, a 3rd-century bishop of Jerusalem. Late in the novel, Oedipa's husband, Mucho Maas, a disc jockey at Kinneret radio station KCUF, describes his experience of discovering the Beatles. Mucho refers to their early song "She Loves You", as well as hinting at the areas the Beatles were later to explore. Pynchon writes, Whenever I put the headset on now," he'd continued, "I really do understand what I find there. When those kids sing about 'She loves you,' yeah well, you know, she does, she's any number of people, all over the world, back through time, different colors, sizes, ages, shapes, distances from death, but she loves. And the 'you' is everybody. And herself. Oedipa, the human voice, you know, it's a flipping miracle." His eyes brimming, reflecting the color of beer. "Baby," she said, helpless, knowing of nothing she could do for this, and afraid for him. He put a little clear plastic bottle on the table between them."

"She stared at the pills in it, and then understood. "That's LSD?" she said."

source: The Crying of Lot 49 - Wikipedia

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V HISTORICAL CRISIS 1963

"V. is the debut novel of Thomas Pynchon, published in 1963. It describes the exploits of a discharged U.S. Navy sailor named Benny Profane, his reconnection in New York with a group of pseudo-bohemian artists and hangers-on known as the Whole Sick Crew, and the quest of an aging traveller named Herbert Stencil to identify and locate the mysterious entity he knows only as "V." It was nominated for a National Book Award. The novel alternates between episodes featuring Benny, Stencil and other members of the Whole Sick Crew (including Profane's sidekick Pig Bodine) in 1956 (with a few minor flashbacks), and a generation-spanning plot that comprises Stencil's attempts to unravel the clues he believes will lead him to "V." (or to the various incarnations thereof). Each of these "Stencilised" chapters is set at a different moment of historical crisis; the framing narrative involving Stencil, "V.", and the journals of Stencil's British spy/diplomat father threads the sequences together. The novel's two storylines increasingly converge in the last chapters (the intersecting lines forming a V-shape, as it were), as Stencil hires Benny to travel with him to Malta."

image and quote source: V. - Wikipedia

PARANOIA

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image source: Pynchon’s Paranoid California with Michael Mark Cohen  source: Berkeley Arts + Design


"The Paranoid Style in American Politics"

"The essay was adapted from a Herbert Spencer Lecture that Hofstadter delivered at Oxford University on November 21, 1963."

source: The Paranoid Style in American Politics - Wikipedia


"Recurring paranoia in American politics"

A conspiracy blueprint.

"The background U.S. history details political paranoia against Illuminism (intellectual subversion), freemasonry (corporate subversion), and the Jesuits (religious subversion), then progresses through U.S. politics to its contemporary (1950s–60s) modern incarnations of McCarthyism and the John Birch Society."

"In developing the subject, Hofstadter initially establishes that his use of the phrase "paranoid style" was a borrowing from the clinical psychiatric term "paranoid" to describe a political personality, and acknowledges that the term is pejorative. The background U.S. history details political paranoia against Illuminism (intellectual subversion), freemasonry (corporate subversion), and the Jesuits (religious subversion), then progresses through U.S. politics to its contemporary (1950s–60s) modern incarnations of McCarthyism and the John Birch Society."

Emulating the enemy

"Psychological projection is essential to the paranoid style of U.S. politics. In the personal realm, the paranoid politician usually ascribes “sexual freedom” as a personal vice of his enemy, yet Hofstadter reports that “very often, the fantasies of true believers reveal strong sadomasochistic outlets, vividly expressed, for example, in the delight of anti-Masons with the cruelty of Masonic punishments”."

Historical applications

"...paranoid delusions of conspiracy by the Money Power."

"Two different approaches to the Radical Right were taken by social scientists in the 1950s and 1960s. Hofstadter sought to identify the characteristics of the groups. Hofstadter defined politically paranoid individuals as feeling persecuted, fearing conspiracy, and acting over-aggressive yet socialized. Hofstadter and other scholars in the 1950s argued that the major left-wing movement of the 1890s, the Populists, showed what Hofstadter said was "paranoid delusions of conspiracy by the Money Power."  Historians have also applied the paranoid category to other political movements, such as the conservative Constitutional Union Party of 1860. Hofstadter's approach was later applied to the rise of new right-wing groups, including the Christian Right and the Patriot Movement; indeed, the modern Republican Party has in recent years begun to engage in the practices discussed in the essay."

source: The Paranoid Style in American Politics - IPFS


Thomas Ruggles Pynchon Jr.: The Author of Gravity's Rainbow & The Crying of Lot 49

Thomas Ruggles Pynchon Jr. is a former Boeing employee.

"Thomas Ruggles Pynchon Jr. ... born May 8, 1937) is an American novelist. A MacArthur Fellow, he is noted for his dense and complex novels. His fiction and non-fiction writings encompass a vast array of subject matter, genres and themes, including history, music, science, and mathematics. For Gravity's Rainbow, Pynchon won the 1974 U.S. National Book Award for Fiction. Hailing from Long Island, Pynchon served two years in the United States Navy and earned an English degree from Cornell University. After publishing several short stories in the late 1950s and early 1960s, he began composing the novels for which he is best known: V. (1963), The Crying of Lot 49 (1966), and Gravity's Rainbow (1973). Pynchon is notoriously reclusive; few photographs of him have been published, and rumors about his location and identity have circulated since the 1960s. Pynchon's most recent novel, Bleeding Edge, was published on September 17, 2013."

"After leaving Cornell, Pynchon began to work on his first novel: V. From February 1960 to September 1962, he was employed as a technical writer at Boeing in Seattle, where he compiled safety articles for the Bomarc Service News, a support newsletter for the BOMARC surface-to-air missile deployed by the U.S. Air Force. Pynchon's experiences at Boeing inspired his depictions of the "Yoyodyne" corporation in V. and The Crying of Lot 49, and both his background in physics and the technical journalism he undertook at Boeing provided much raw material for Gravity's Rainbow. When published in 1963, V. won a William Faulkner Foundation Award for the best first novel of the year. (It was a finalist for the National Book Award.)  After resigning from Boeing, Pynchon spent some time in New York and Mexico before moving to California, where he was reportedly based for much of the 1960s and early 1970s, most notably in an apartment in Manhattan Beach,  as he was composing the highly regarded Gravity's Rainbow. Pynchon during this time flirted with the lifestyle and some of the habits of the Beat and hippie countercultures."

"Pynchon's most celebrated novel is his third, Gravity's Rainbow, published in 1973. An intricate and allusive fiction that combines and elaborates on many of the themes of his earlier work, including preterition, paranoia, racism, colonialism, conspiracy, synchronicity, and entropy, the novel has spawned a wealth of commentary and critical material, including reader's guides,[ books and scholarly articles, online concordances and discussions, and art works. Its artistic value is often compared to that of James Joyce's Ulysses. Some scholars have hailed it as the greatest American post-WW2 novel, and it has similarly been described as "literally an anthology of postmodernist themes and devices".  The major portion of Gravity's Rainbow takes place in London and Europe in the final months of World War II and the weeks immediately following VE Day, and is narrated for the most part from within the historical moment in which it is set. In this way, Pynchon's text enacts a type of dramatic irony whereby neither the characters nor the various narrative voices are aware of specific historical circumstances, such as the Holocaust and, except as hints, premonitions and mythography, the complicity between Western corporate interests and the Nazi war machine, which figure prominently in readers' apprehensions of the novel's historical context. For example, at war's end the narrator observes: "There are rumors of a War Crimes Tribunal under way in Nürnberg. No one Slothrop has listened to is clear who's trying whom for what ... " (p. 681) Such an approach generates dynamic tension and moments of acute self-consciousness, as both reader and author seem drawn ever deeper into the "plot", in various senses of that term: Pynchon presents us with a Disney-meets-Bosch panorama of European politics, American entropy, industrial history, and libidinal panic which leaves a chaotic whirl of fractal patterns in the reader's mind."

"If they can get you asking the wrong questions, they don't have to worry about answers." – Gravity's Rainbow

"The novel invokes anti-authority sentiments, often through violations of narrative conventions and integrity. For example, as the aforementioned protagonist, Tyrone Slothrop, considers the fact that his own family "made its money killing trees", he apostrophizes his apology and plea for advice to the coppice within which he has momentarily taken refuge. In an overt incitement to eco-activism, Pynchon's narrative agency then has it that "a medium-sized pine nearby nods its top and suggests, 'Next time you come across a logging operation out here, find one of their tractors that isn't being guarded, and take its oil filter with you. That's what you can do.'" (p. 553)

Encyclopedic in scope and often self-conscious in style, the novel displays erudition in its treatment of an array of material drawn from the fields of psychology, chemistry, mathematics, history, religion, music, literature and film. Pynchon wrote the first draft of Gravity's Rainbow in "neat, tiny script on engineer's quadrille paper". Pynchon worked on the novel throughout the 1960s and early 1970s while he was living in California and Mexico City. Gravity's Rainbow shared the 1974 National Book Award with A Crown of Feathers and Other Stories by Isaac Bashevis Singer (split award). That same year, the Pulitzer Prize fiction panel unanimously recommended Gravity's Rainbow for the award, but the Pulitzer board vetoed the jury's recommendation, describing the novel as "unreadable", "turgid", "overwritten", and in parts "obscene". (No Pulitzer Prize for Fiction was awarded and finalists were not announced before 1980.) In 1975, Pynchon declined the William Dean Howells Medal."

source: https://en.wikipedia.org/wiki/Thomas_Pynchon


Who is Thomas Pynchon?

Real person or mythic media figure? Is it paranoid to even consider the idea that "Thomas Pynchon" might be just a media crafted brand and not a real person at all?

Thomas Pynchon CNN report  source: sometrubadour

See: Mason & Dixon and Against the Day for more of this character's interesting allegorical 'work'.


Thomas Pynchon's old friend Jules Siegel interviewed - "Journey Into the Mind of P"

Thomas Pynchon's old friend Jules Siegel interviewed - "Journey Into the Mind of P"  source: Cptmarginal

A Pynchon Interview  source: deadstrobe

 

NEVER FORGET 9/11: YELLOW JOURNALISM IS THE BLUEPRINT FOR MIND DUMBING & NUMBING CULTURE

THE WORLD IS RUN AS ONE BIG LUNATIC ASYLUM CHAIN THAT IS PART OF A SEEMINGLY ETERNAL BANANA REPUBLIC – BUSINESS ENTERPRISE

Yellow journalism - Wikipedia


Counting on Precious Loot

"I live in a jingle jangle jungle
Where people die to make some green
Turnin' men to boys
Makin' new war toys
Dancin' to the noise
Of ticker
Can't get much sicker
In this jingle jangle jungle we call home"

ABC Commercial Breaks - November 22, 1981 – A Real Jingle Jangle Jungle

source: ABC Commercial Breaks - November 22, 1981 (Moonraker)  MicroJow  and  https://genius.com/Bobby-darin-jingle-jangle-jungle-lyrics

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Tick, Tock, Tick: The Sound of The Doomsday Clock Ticker

"The Doomsday Clock is a symbol which represents the likelihood of a man-made global catastrophe. Maintained since 1947 by the members of the Bulletin of the Atomic Scientists' Science and Security Board, the Clock represents an analogy for the threat of global nuclear war. Since 2007, it has also reflected climate ..."

‎image and quote sources: Doomsday Clock - Wikipedia   •   Doomsday Clock (comics) · ‎Bulletin of the Atomic Scientists · ‎2 Minutes to Midnight


The V2 Rocket Hoax 'Exposed':

More about the Operation Paperclip and V2 intercontinental ballistic missile hoax to come.

For now please see: Topic: V1 and V2 rockets – hoax? | Fakeologist.com  •   Clues Forum View topic - V1 and V2 NAZI rockets (WW2): another old hoax ... for more.


A Rainbow Post Script: The Revelation of The 'Seventh Seal' of A Long History of Yellow Journal Cartoon Myths

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image source: The Great Seal - America's Vision Statement  •  Octave - Wikipedia

Great Seals Revealed

"And when he had opened the seventh seal, there was silence in heaven about the space of half an hour. And I saw the seven angels which stood before God; and to them were given seven trumpets. ... And the seven angels which had the seven trumpets prepared themselves to sound."

source: Seven seals - Wikipedia

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image source: The Illuminati Symbol, the Great Seal and the One Dollar Bill

The Gravitational Attraction of The Big "G"

G.O.D.

"Brahma, Vishnu and Mahesh as “GOD” the word depicts ‘Generation’, ‘Organization’ and ‘Destruction’."

source: The GOD- Generation, Organization & Destruction - Speaking Tree

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The Power of Masonic Symbols and Myth:

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Keep it in the key of "BIG G":

Gravity's accelerated effect is at a stone dropping 'free-falling-masonic' 32 feet per second.

The falling, twice bitten, proverbial apple strikes God's Garden ground with an Adam and Eve jaw dropping 32 feet per second, accelerated rate.

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image source: Apollo and the Muses Artist: Giorgio Ghisi (Italian, Mantua ca. 1520–

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"But the earthly sphere, the ninth, “remains ever motionless and stationary in its position in the center of the universe” Joseph Campbell

"This ladder of the planetary shells, presented by a fifteenth century Italian music master to demonstrate, as he declares, “that the Muses, Planets, Modes, and strings correspond with one another,” actually is an idea of the greatest age. It was known already to the Stoics and is developed in Cicero’s “Dream of Scipio” (cited in Occidental Mythology ), where the spheres are named in this same order and said to produce a loud agreeable sound by the motion of their revolutions."

 "In a properly Christian art the forms do not seduce the senses to this world, but are allegorical of spiritual themes and of the legends of the Savior and his saints, by which the mind and spirit are exalted beyond this world to God, who is transcendent and apart. Whereas in Gafurius’s design — as in general in classical art— the Muses represent and are addressed to the spheres of their respective stations, all of which pertain to the body and field of power of the serpent itself. And the serpent, in turn, is not opposed to the Lord of Life and Light, but a manifestation of his creative force and harmony. To realize this, and to rise then along the mounting scale from one glory to the next, one has only to face and dare to enter the lion’s mouth: the flaming sun door of the present, absorbed totally in the living here-and-now, without hope, without fear. Whereupon the rapture of the Muses — the arts — will begin to be experienced in the body of this world itself, transporting our spirit from glory to glory, to that summit of joy in consciousness where the world eye — beyond hope, beyond fear surveys the universe in its coming, going, and being."

"For, just as the serpent is not opposed to the Lord, but the vehicle of his down-going grace, so are the Muses — clothed in the garments of this world — not opposed to the unclothed Graces, but in triple rhythm (3 times 3) the earthly heralds of their paradisial dance. And they are nine because (as Dante tells of his own Muse, Beatrice) their root (the square root of nine being three) is in the trinity above."

image and quote source: Apollo and the Nine Muses from Joseph Campbell's Creative Mythology print edition

(Click here for more: Creative Mythology — A Proper Gander At Propaganda)

Pythian Apollo: The Allegorical God of Art

Art has always been the real governmental weapon of mass mental destruction.

Art screens (occults) the real Natural World. Art has long been commissioned by government to act as behavior defining, mental paradigms.

"As the patron of Delphi (Pythian Apollo), Apollo was an oracular god—the prophetic deity of the Delphic Oracle. Medicine and healing are associated with Apollo, whether through the god himself or mediated through his son Asclepius, yet Apollo was also seen as a god who could bring ill-health and deadly plague. Amongst the god's custodial charges, Apollo became associated with dominion over colonists, and as the patron defender of herds and flocks. As the leader of the Muses (Apollon Musegetes) and director of their choir, Apollo functioned as the patron god of music and poetry. Hermes created the lyre for him, and the instrument became a common attribute of Apollo. Hymns sung to Apollo were called paeans. In Hellenistic times, especially during the 3rd century BCE, as Apollo Helios he became identified among Greeks with Helios, Titan god of the sun, and his sister Artemis similarly equated with Selene, Titan goddess of the moon. In Latin texts, on the other hand, Joseph Fontenrose declared himself unable to find any conflation of Apollo with Sol among the Augustan poets of the 1st century, not even in the conjurations of Aeneas and Latinus in Aeneid XII (161–215). Apollo and Helios/Sol remained separate beings in literary and mythological texts until the 3rd century CE."

source: https://en.wikipedia.org/wiki/Apollo

Keep it in "G":

Robert Fludd's The History of The Macrocosm & The Pythagorean Monochord

"The scheme begins in low G, which is the Earth, ascending to middle C, at which point God makes his appearance, and then up to high G, which is the most exalted division of the empyrean."

quote source: The Music of the Spheres: Music, Science, and the Natural Order of the Universe By Jamie James   •   Robert Fludd - Wikipedia

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image source: Masonic Big "G" Compass and Apollo and the Nine Muses from Joseph Campbell's Creative Mythology print edition

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image source: Tupelo Masonic Lodge No. 318 F.&A.M. - TupeloMason®: THE SYMBOL OF ...

The Bones of Saints

"In the Garden of Eden
As the wheels go round and round. It’s the song of the ages
And the last fair deal’s gone down... "

"They’re loading up the ships. They’re loading up the planes. There’s madness in the sky, above the bones of saints. So much so nearly broken. Servants of a lie. Now everything is burning. There’s a fire up in the sky. We’re up against the fence. When all the walls fall down Hear the children scream. There where fear abounds. To ask a leading question From where the money comes? Who buys the bullets? Who sells the guns?"

Robert Plant "Bones of Saints"

see also: Hollywood Masonic Temple - Wikipedia  •  Inside Hollywood's Secret Masonic History, From Disney to DeMille ...

Masonic Imagery is so Iconically Mnemonically Inclined

So-called "occult" and "Satanic" knowledge and other "mystical", superstitious symbols are nothing but memory devices and allegorical metaphors. No top secret, super espionage agent, decoder rings needed to figure out what any half way decent dictionary (or encyclopedia) could tell us.

"A mnemonic device, or memory device, is any learning technique that aids information retention or retrieval (remembering) in the human memory. Mnemonics make use of elaborative encoding, retrieval cues, and imagery as specific tools to encode any given information in a way that allows for efficient storage and retrieval."

source: Mnemonic - Wikipedia

Of Mooning Masons: Apollo 11 Lunar Module 'Pilot'

Apollo 11's Edwin "Buzz" Aldrin - Masonic Lode Member

"Member, Montclair Lodge #144, New Jersey - Member, Clear Lake Lodge No. 1417, Seabrook, Texas - 33° Valley of Houston Scottish Rite  - Member, Arabia Shrine"

"Buzz Aldrin (born January 20, 1930 as Edwin Eugene Aldrin, Jr.) is an American aviator and astronaut, who was the Lunar Module Pilot on Apollo 11, the first lunar landing. He was the second man to set foot on the Moon, after Mission Commander Neil Armstrong."

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image source: Ref: ScottishRite.org; nasa.gov; New Age Magazine.  "Buzz" Aldrin - Kansas City Scottish Rite

https://en.wikipedia.org/wiki/Buzz_Aldrin

Understanding The Future

“With the moon walk, the religious myth that sustained these notions could no longer be held. With our view of earthrise, we could see that the earth and the heavens were no longer divided but that the earth is in the heavens."

― Joseph CampbellThou Art That: Transforming Religious Metaphor

“The problem is that people have tried to look away from space and from the meaning of the moon landing. I remember seeing a picture of an astronaut standing on the moon. It was up at Yale and someone has scrawled on it, 'So what?' That is the arrogance of the kind of academic narrowness one too often sees; it is trapped in its own predictable prejudices, its own stale categories. It is the mind dulled to the poetry of existence. It's fashionable now to demand some economic payoff from space, some reward to prove it was all worthwhile. Those who say this resemble the apelike creatures in 2001. They are fighting for food among themselves, while one separates himself from them and moves to the slab, motivated by awe. That is the point they are missing. He is the one who evolves into a human being; he is the one who understands the future.” 
― Joseph CampbellThou Art That: Transforming Religious Metaphor

Of Mooning Misters: Apollo 9 Lunar Module 'Pilot'

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Russell Louis "Rusty" Schweickart

"Russell Louis "Rusty" Schweickart (also Schweikart; born October 25, 1935) is an American aeronautical engineer, and a former NASA astronaut, research scientist, U.S. Air Force fighter pilot, as well as a former business executive and government executive. Selected in 1963 for NASA's third astronaut group, he is best known as the Lunar Module Pilot on the 1969 Apollo 9 mission, the first manned flight test of the Lunar Module, on which he performed the first in-space test of the Portable Life Support System used by the Apollo astronauts who walked on the Moon. As backup Commander of the first manned Skylab mission in 1973, he was responsible for developing the hardware and procedures used by the first crew to perform critical in-flight repairs of the Skylab station. After Skylab, he served for a time as Director of User Affairs in NASA's Office of Applications. Schweickart left NASA in 1977 to serve for two years as California Governor Jerry Brown's assistant for science and technology, then was appointed by Brown to California's Energy Commission for five and a half years, serving as chairman for three. In 1984–85 he co-founded the Association of Space Explorers and later in 2002 co-founded the B612 Foundation, a non-profit organization dedicated to defending Earth from asteroid impacts, along with fellow former astronaut Ed Lu and two planetary scientists. He served for a period as its chair before becoming its chair emeritus."

image and quote source: https://en.wikipedia.org/wiki/Rusty_Schweickart

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"The Inner Reaches of Outer Space is a 1986 book by mythologist Joseph Campbell, the last book completed before his death in 1987."

"In it, he explores the intersections of art, psychology and religion, and discusses the ways in which new myths are born. In writing the book, Campbell drew on transcripts of a series of lectures and conversations that he gave in San Francisco between 1981–1984, including legendary symposiums with astronaut Rusty Schweickart and with members of the Grateful Dead."

image and quote source: The Inner Reaches of Outer Space - Wikipedia

Click here for mroe: Joseph Campbell Cosmology and the Mythic ... - survey-of-literature  and  Rusty Schweickart - Wikipedia

 

Behold A Future Vision of Endless, Very Real 'Occulted' Artificial Worlds For Humanity To Get Mentally Lost In

occult | Origin and meaning of occult by Online Etymology Dictionary

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image soruce: File:Dark Side of the Moon.png - Wikipedia and GOOGLE image search

The Four Horseman Have Always Been More Propaganda & Artistic Lie Than Reality

Governments always seem to need G.O.D.

"Brahma, Vishnu and Mahesh as “GOD” the word depicts ‘Generation’, ‘Organization’ and ‘Destruction’."

source: The GOD- Generation, Organization & Destruction - Speaking Tree

Such myths lie at the foundation of civilization as we understand it. Chicken Little, 'sky is falling' and Boy Who Cried Wolf style reporting, is nothing new.

Yellow journalism truly is blueprint for culture.

Order from Chaos - Brookings Institution

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Governments need us to really and truly believe the World is always about to end. This is where governmentally backed artists enter the proverbial picture. Artists craft visions of the Apocalypse for each age and with the tools of each era. Today's virtual world of digital immersion is more captivating a medium for imgaintive illusions than oil paint on canvas or audio recording on mass produced, etched, plastic disk, ever could be.

image source: Four Horsemen of the Apocalypse - Wikipedia

"Satanic" Screens Occult Eden

“Apocalypse does not point to a fiery Armageddon but to the fact that our ignorance and our complacency are coming to an end… The exclusivism of there being only one way in which we can be saved, the idea that there is a single religious group that is in sole possession of the truth—that is the world as we know it that must pass away. What is the kingdom? It lies in our realization of the ubiquity of the divine presence in our neighbors, in our enemies, in all of us.” 
― Joseph CampbellThou Art That: Transforming Religious Metaphor

The ubiquitous screen acts to occult the Natural World that is God's Garden.

The augmented and virtual realities shown on screens do not necessarily represent the real World at all. In fact too much of it is anything but real. Virtual reality is as old as civilization itself. It begins with the first verbal lie spread through telephone game gossip that evolves into world-wide cultural binding gospel.

Apollo, The Moon and The Muses

 "As the leader of the Muses (Apollon Musegetes) and director of their choir, Apollo functioned as the patron god of music and poetry. Hermes created the lyre for him, and the instrument became a common attribute of Apollo. Hymns sung to Apollo were called paeans. In Hellenistic times, especially during the 3rd century BCE, as Apollo Helios he became identified among Greeks with Helios, Titan god of the sun, and his sister Artemis similarly equated with Selene, Titan goddess of the moon."

source: https://en.wikipedia.org/wiki/Apollo

The 9 Muses

"There were nine Muses according to Hesiod, protecting a different art and being symbolised with a different item; Calliope (epic poetry - writing tablet), Clio (history - scroll), Euterpe (lyric poetry - aulos, a Greek flute), Thalia (comedy and pastoral poetry - comic mask), Melpomene (tragedy - tragic mask), ..."

"The Muses were the Greek goddesses of inspiration in literature, science and the arts. They were the daughters of Zeus and Mnemosyne (the personification of memory), and they were also considered water nymphs. Some scholars believed that the Muses were primordial goddesses, daughters of the Titans Uranus and Gaea. Personifications of knowledge and art, some of the arts of the Muses included Music, Science, Geography, Mathematics, Art, and Drama. They were usually invoked at the beginning of various lyrical poems, such as in the Homeric epics; this happened so that the Muses give inspiration or speak through the poet's words."

source: The Muses - Greek Mythology

 

"If they can get you asking the wrong questions, they don't have to worry about answers." – Gravity's Rainbow

 

N.A.T.A.S. = The National Academy of Television Arts & Sciences = SATAN Backwards

Hollywood, California is home to the allegorical muses and the proverbial contract and detail loving, Devil.

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image source: The Emmy Awards - The National Academy of Television Arts ...

Mnemonically Backwards "Masking" Satan

Cartoonish "occult" and "Satanic" knowledge and other "mystical", superstitious symbols are nothing but memory devices and allegorical metaphors. No top secret, super espionage agent, decoder rings needed to figure out what any half way decent dictionary (or encyclopedia) could tell us.

"A mnemonic device, or memory device, is any learning technique that aids information retention or retrieval (remembering) in the human memory. Mnemonics make use of elaborative encoding, retrieval cues, and imagery as specific tools to encode any given information in a way that allows for efficient storage and retrieval."

source: Mnemonic - Wikipedia

The Apocalypse of A Long History of Yellow Journal Cartoon Myths

Yellow journalism - Wikipedia

Revelation 9:11 King James Version (KJV)

11 And they had a king over them, which is the angel of the bottomless pit, whose name in the Hebrew tongue is Abaddon, but in the Greek tongue hath his name Apollyon.

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image source: Thats all folks! Looney Tunes - YouTube

Revelation 10:1
"Then I saw another mighty angel coming down from heaven, wrapped in a cloud, with a rainbow above his head. His face was like the sun, and his legs like pillars of fire.

Revelation 21:11
"...shining with the glory of God. Its radiance was like a most precious jewel, like a jasper stone, clear as crystal."

sourceRevelation 4:3 And the one who sat there had the appearance of ...

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image source: Boaz and Jachin - Wikipedia  •  9/11 as it happened  source: George D

"What does a rainbow mean in the Bible?"

Submit questions  -  New Articles

"QUESTION: What is the meaning of a rainbow in the Bible? What do colors such as red, blue, and purple mean?

ANSWER: Interestingly, we only need to look in three places in the Bible to discover the meaning of a rainbow and what certain colors mean. These places to study are found in the books of Genesis, Ezekiel and Revelation. 

In the Genesis account, a rainbow appears right after the great worldwide flood brought in order to remove sinful and evil-minded man from the earth. It symbolized God's mercy and the covenant He made with Noah (representing mankind) not to destroy the world in such a way again. 

12. And God said, "This is the sign of the covenant which I make between Me and you and every living creature with you, for everlasting generations: 13. I set My rainbow in the cloud, and it shall be the sign of the covenant between Me and the earth . . . and the waters shall no more become a flood to destroy all flesh. (Genesis 9:12, 15, HBFV)

In a way, a cloud which has the bow in it pictures God, as Exodus 13 states. 

"And the Lord went before them by day in a pillar of CLOUD to lead the way . . ." (Exodus 13:21)"

 

source: http://www.biblestudy.org/question/what-does-a-rainbow-symbolize-in-bible.html


Modern Publicly Available, Digital Technology Allows For Real-Time, Believable, Virtual and Augmented Reality

Consider what a governmentally backed, military grade, propaganda project, would be capable of. This is how the international space programs fake everything from the safety and convenience of a Hollywood special effects style, green screen, studio; complete with computer motion controlled cameras.

"Zero Gravity" footage can be created with even old school, pre-computer, Hollywood special effect wizardry. A skilled artist with governmental funding is a powerful weapon. A small team of such artists would be capable of impressive visual feats that could only exist on a screen of one kind or another.

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Do not believe what you see on a screen without a whole lot of critical thought.


Outer Space Is Not a Real Place: Space X's "Beta" Client Was DARPA

"The Defense Advanced Research Projects Agency (DARPA) is an agency of the United States Department of Defense responsible for the development of emerging technologies for use by the military. Originally known as the Advanced Research Projects Agency (ARPA), the agency was created in February 1958 by President Dwight D. Eisenhower in response to the Soviet launching of Sputnik 1 in 1957. Since its inception, the agency's mission is ensuring that the United States avoids further technological surprise. By collaborating with academic, industry, and government partners, DARPA formulates and executes research and development projects to expand the frontiers of technology and science, often beyond immediate U.S. military requirements."

"DARPA-funded projects have provided significant technologies that influenced many non-military fields, such as computer networking and the basis for the modern Internet, and graphical user interfaces in information technology."

DARPA & Virtual Reality

"For virtual reality to become more than another quick-to-fade fad like 3-D televisions or the overhyped Google Glass, it needs the type of careful nurturing that only government can give it through long-term developmental investments, a Defense Advanced Research Projects Agency program manager told a crowd of VR enthusiasts Monday. While many of the virtual reality applications from the commercial sector come off more like “toy games,” the government is better positioned to foster ideas that take more time to bear fruit, said DARPA’s Trung Tran said."

source: DARPA - Wikipedia  •  At DARPA, virtual reality is more than a toy - Fedscoop  •  DARPA, Government Agencies Want Even More Realistic Virtual ...  •  Darpa Turns Oculus Into a Weapon for Cyberwar | WIRED   •   DARPA Explores Virtual Reality as the Future of Cyberwarfare   •   The 5 Most Amazing Technologies DARPA Helped Invent — Besides ...

Rare & Old Elon Musk Video from 2006 About Starting SpaceX (Back When He Had No Hair Transplant Yet)  source: Elon Musk Viral Videos

Published on Jan 6, 2018

"This od interview shows Elon Musk talking about SpaceX before it became a big success ...and before Elon Musk got his famous hair transplant..."

source: Elon Musk Viral Videos

 

Imagineering "Outer Space" Disney Style

Military-Entertainment Complex Case Study: Eric Haseltine, former Disney and NSA employee.

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"Haseltine spent 13 years at Hughes Aircraft, where he rose to the position of Director of Engineering. He then left for Walt Disney Imagineering in 1992, where he joined the research and development group, working on large-scale virtual-reality projects."

"Eric Haseltine (born October 11, 1951 in Death Valley, CA) is a technologist who has worked in senior-executive positions in both industry and the United States intelligence community. Haseltine received a bachelor of arts degree in economics and psychology from the University of California, Berkeley, and a PhD in physiological psychologyfrom Indiana University. He also has a certificate in Executive Management from UCLA's Anderson School of Management. He accomplished post-doctoral work in brain research at Vanderbilt University School of Medicine. Haseltine spent 13 years at Hughes Aircraft, where he rose to the position of Director of Engineering. He then left for Walt Disney Imagineering in 1992, where he joined the research and development group, working on large-scale virtual-reality projects. In 1998, he was promoted to senior vice president responsible for all technology projects. In 2000, he was made Executive Vice President. Haseltine was head of research and development for Walt Disney Imagineering by the time he left in 2002 to join the National Security Agency as Director of Research. From 2005 to 2007, Haseltine was Associate Director for Science and Technology, Office of the Director of National Intelligence (ODNI)—that organization's first—a position he described in a 2006 US News and World Report interview by stating: "You can think of me as the CTO [chief technology officer] of the intelligence community". Haseltine is currently president and managing partner of Haseltine Partners, LLC. He also serves on the advisory board of TTI/Vanguard."

"Haseltine was head of research and development for Walt Disney Imagineering by the time he left in 2002 to join the National Security Agency as Director of Research. From 2005 to 2007, Haseltine was Associate Director for Science and Technology, Office of the Director of National Intelligence (ODNI)—that organization's first—a position he described in a 2006 US News and World Report interview by stating: "You can think of me as the CTO [chief technology officer] of the intelligence community". "

source: Eric Haseltine - Wikipedia 

 

"FCJ-004 The Military-Entertainment Complex: A New Facet of Information Warfare"

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image source: Video Games & The Military Entertainment Complex - YouTube  •  Military-entertainment complex - Wikipedia

"During the Second World War, the United States systematised relations with Hollywood. So as not to disrupt studio shooting schedules, stars were enlisted into the armed forces part-time without the expectation of fighting but rather to service the publicity requirements of recruitment and war bond drives. United Services Organization (USO) shows featured Hollywood stars like Bob Hope to provide entertainment to battle-weary troops and the Department of Defense gave Hollywood many story lines and the logistical support to make them into films. The military also used the entertainment industry’s radio broadcast and marketing expertise in psychological operations (PSYOPS) to build support for the Allied war effort behind enemy lines.

The Cold War space race provided the impetus for the military and entertainment industry to work more closely as their technologies merged with the introduction of geo-stationary satellites. Suddenly they were in the same business: information management. The military saw a satellite system as a crucial element in its global reconnaissance and command system. Satellites also gave the military the opportunity to gather signals intelligence (SIGINT) including radio and television signals from anywhere in the world. At the same time telecommunications and the burgeoning television industries saw opportunities to build an international network for gathering and distributing content. Separate satellite networks had the potential to be disrupted by attack on just one satellite, so in March 1964 President Johnson approved the procurement of satellite communication services under National Security Action Memorandum 252. This required the Secretary of Defense to enter into business arrangements with the “quasi-private” Communication Satellite Corporation to provide half of the cost for two 18-piece independent satellite systems capable of world-wide traffic even after attack. The remaining funding for the project came from the formation of Intelsat, an international communications consortium."

""t was the Walt Disney cartoon come to life." Even U.S. President Dwight Eisenhower took notice of Disney's Man in Space. He requested a copy to impress the military top brass who were dismissing space travel as "Buck Rogers science-fiction." In April 1965, 10 years after Man in Space first aired, Von Braun invited ..."

quotes sources: Eric Haseltine - Wikipedia    •    FCJ-004 The Military-Entertainment Complex: A New Facet of ...   •   DISNEY & SPACE TRAVEL Disney History

G is for GOOGLE: AR stickers For the Pixel

Smart screens augment or otherwise filter the real World. Consumer level real time virtual layers of onion skinned cartoons can now be incorporated immediately into the picture one sees when one looks through a screen. Imagine the power of governmental and marketing manipulation when the screen is no longer the medium for this type of virtual content. Consider the power the virtual "world" will have over everyone's imaginations, beliefs and behavior when everyone is microchipped with augmented silicon based, electronic, "internet of things", brain implants.

Consider the CGI enhanced, real time, illusory power that governmentally financed, military, aerospace interests have right now.

Is it wise to confuse Disney cartoons for reality?

Google Pixel AR Stickers Are Pretty Awesome  source: Tech Refresh

G is for GOOGLE

These virtual cartoon "digital stickers" even have drop shadows. This is how images of international feats of gravity defying "Outer Space" escapades are crafted.

Making people fly with wires would seem to be as old as civilization itself. Old school techniques and new school technology make for quite the powerful visual gossip weapon for institutionalized governmental interests to use to keep the mass world-wide public controlled by what would seem to be permanent governmental guidance.

"The term was coined from the conventions of Greek tragedy, where a machine is used to bring actors playing gods onto the stage. The machine could be either a crane (mechane) used to lower actors from above or a riser that brought actors up through a trapdoor. Preparation to pick up the actors was done behind the skene. The idea was introduced by Aeschylus and was used often to resolve the conflict and conclude the drama. Although the device is associated mostly with Greek tragedy, it also appeared in comedies"

source: Deus ex machina - Wikipedia

Vicon Computer Controlled Motion & Camera Tracking for Virtual Set Productions

Vicon tracking for virtual set productions source: Vicon

GOOGLE: 'GOOGLE and DARPA'

Google goes DARPA | Fortune   •   Ex-Darpa Head Regina Dugan Leaves Google for Facebook | WIRED   •   These DARPA Darlings Just Raised $20M To Build A Super-Powered ...   •   'DARPA Dan' joins Google's mobile lab as deputy director - Fedscoop

All "Zero Gravity" Imagery, Moving and Motionless is Artistic Illusion

Modern digital technology and film making techniques easily explain all international footage of supposed "Zero Gravity" escapades, both in "Outer Space" and in 'Gravity Rainbow', parbolic arcing passenger jet flight. All sorts of artificial weightless types of environments, and flights of literal fancy, can be created with modern film making tools and techniques; all from the safe and controlled environment of a film set with computer control.

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CASE STUDY: NASA's Interest in Virtual Reality in 1989

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20 Years After Apollo 11 and NASA is interested in (military grade) virtual reality research.

source:Applied Virtual Reality Research And Applications at NASA/Marshall ...  •  https://ntrs.nasa.gov/archive/nasa/casi.ntrs.nasa.gov/19970006956.pdf

 

1989 Hollywood Water Magic Meets 2013 CGI Realtime Graphics Card Magic

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Nvidia’s PhysX has finally cracked realistic, real-time rendered water in April 24, 2013

A governmentally funded DARPA type of project would have been capable of such feats earlier than 2013. Nvidia would have been researching and developing such technology for quite some time. Footage that appears to be "Live" need not be. Even News media interviews might not be as "Live" as they seem to be. The film "The Abyss", for example, from 1989, makes use of illusory water effects. This kind of Hollywood darkroom illusion is not a new trick at all. Images of supposed free falling bottles of spilling water and the like can easily be created by expert visual artists in computer enhanced studio on land, no need for any kind of aerospace flight at all.

"CG water that behaves similarly to real fluid has been around for a while — most notably in tech demos showing off that it’s possible, or perhaps appearing in the occasional big-budget movie. However, it’s too computationally intensive to put into a real-time application, like a video game. For as pretty as the CryEngine is, our hardware just can’t dedicate enough resources to generate fancy flowing fluids. Now, though, Nvidia’s Miles Macklin and Matthias Müller-Fischer have figured out a way to reduce the load on hardware, generating a result that is remarkably fluid, but “suitable for real-time applications.”

image and quote source:  Nvidia's PhysX has finally cracked realistic, real-time rendered water ... •   The Abyss - Wikipedia   •   Industrial Light & Magic - Visual Effects and CGI | Lucasfilm

 

"If they can get you asking the wrong questions, they don't have to worry about answers." – Gravity's Rainbow

 
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image source: GOOGLE search

"Outer Space" is Fake. The ISS is another historical international hoax. Orbits are not real. Newton was wrong.

While we will never get to wait on lines to actually take rocket rides into low Earth orbits, we can wait on lines for products like the latest and greatest virtual reality gear, video games and smart phones. Our tax dollars are hard at work and are spent on the research and development of things like computer enhanced, cartoon graphics technology.

 

"READY PLAYER ONE" – THE YEAR 2045: ADVENTURES IN INNER SPACE

"When there is nowhere left to go."

"When the creator of a virtual reality world called the OASIS dies, he releases a video in which he challenges all OASIS users to find his Easter Egg, which will give the finder his fortune. Wade Watts finds the first clue and starts a race for the Egg."

source: http://www.imdb.com/title/tt1677720/

READY PLAYER ONE - Official Trailer 1 [HD]  source: Warner Bros. Pictures

 

Outer Space is A Virtual Construct

It is not a place. Outer Space is an international, governmental, cultural artifact of a largely unconscious religious faith. This is what modern mythology looks like. It makes the same liberal use of imaginative and superstitious ideas that organized religions do. Modern secular, state sponsored "Space Science" is just as much an imaginative religious and institutionalized faith as Catholicism or the British Queen's version of Protestantism are.

Institutionalized religions have always reinforced faith in the power of, and the need for, the state.

The Church was the medieval human resource department for the internationally organized Holy Roaming Banking Enterprise, a duty it still fulfills to this day. 


FIN