AA Morris Presents: The Proper Gander At Propaganda Podcast
image source: A Beast With Seven Heads • wikimedia
Podcast Episode 106: Catholicism & Freemasonry 1969 Style Part VII
Mystery Plays Defined:
"Mystery plays and miracle plays (they are distinguished as two different forms although the terms are often used interchangeably are among the earliest formally developed plays in medieval Europe. Medieval mystery plays focused on the representation of Bible stories in churches as tableaux with accompanying antiphonal song. They told of subjects such as the Creation, Adam and Eve, the murder of Abel, and the Last Judgement. Often they were performed together in cycles which could last for days. The name derives from mystery used in its sense of miracle, but an occasionally quoted derivation is from ministerium, meaning craft, and so the 'mysteries' or plays performed by the craft guilds. As early as the fifth century living tableaux were introduced into sacred services. The plays originated as simple tropes, verbal embellishments of liturgical texts, and slowly became more elaborate. At an early period chants from the service of the day were added to the prose dialogue. As these liturgical dramas increased in popularity, vernacular forms emerged, as travelling companies of actors and theatrical productions organized by local communities became more common in the later Middle Ages. The Quem quaeritis? is the best known early form of the dramas, a dramatised liturgical dialogue between the angel at the tomb of Christ and the women who are seeking his body. These primitive forms were later elaborated with dialogue and dramatic action. Eventually the dramas moved from church to the exterior - the churchyard and the public marketplace. These early performances were given in Latin, and were preceded by a vernacular prologue spoken by a herald who gave a synopsis of the events. The writers and directors of the earliest plays, were probably monks. Religious drama flourished from about the ninth century to the sixteenth. In 1210, suspicious of the growing popularity of miracle plays, Pope Innocent III issued a papal edict forbidding clergy from acting on a public stage. This had the effect of transferring the organization of the dramas to town guilds, after which several changes followed. Vernacular texts replaced Latin, and non-Biblical passages were added along with comic scenes, for example in the Secunda Pastorum of the Wakefield Cycle. Acting and characterization became more elaborate."
"A mnemonic (/nəˈmɒnɪk/, the first "m" is silent) 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. Mnemonics aid original information in becoming associated with something more accessible or meaningful—which, in turn, provides better retention of the information. Commonly encountered mnemonics are often used for lists and in auditory form, such as short poems, acronyms, or memorable phrases, but mnemonics can also be used for other types of information and in visual or kinesthetic forms. Their use is based on the observation that the human mind more easily remembers spatial, personal, surprising, physical, sexual, humorous, or otherwise "relatable" information, rather than more abstract or impersonal forms of information."
The Apocalypse of The Beast of Seven Heads: The Seven Planets
The Seven Planet Musical Stairway leads to the Celestial Sphere of Fixed Stars and then to the throne of Apollo the Lord of Art itself who is depicted as ruling the Cosmos.
The Earth, the World itself, is depicted as the motionless foundation from which this stairway (a form of Jacob's Ladder) springs.
Seven Chakras or Circles of Power
"Kundalini (Sanskrit: कुण्डलिनी kuṇḍalinī, pronunciation (help·info), "coiled one"), in Hinduism refers to a form of primal energy (or shakti) said to be located at the base of the spine. American comparative religions scholar Joseph Campbell describes the concept of Kundalini as "the figure of a coiled female serpent—a serpent goddess not of "gross" but "subtle" substance—which is to be thought of as residing in a torpid, slumbering state in a subtle center, the first of the seven, near the base of the spine: the aim of the yoga then being to rouse this serpent, lift her head, and bring her up a subtle nerve or channel of the spine to the so-called "thousand-petaled lotus" (Sahasrara) at the crown of the head...She, rising from the lowest to the highest lotus center will pass through and wake the five between, and with each waking, the psychology and personality of the practitioner will be altogether and fundamentally transformed."
"Numerous accounts describe the experience of Kundalini awakening. When awakened, Kundalini is said to rise up from the muladhara chakra, through the central nadi (called sushumna) inside or alongside the spine reaching the top of the head. The progress of Kundalini through the different chakras leads to different levels of awakening and a mystical experience, until Kundalini finally reaches the top of the head, Sahasrara or crown chakra, producing an extremely profound transformation of consciousness.:5–6 Energy is said to accumulate in the muladhara, and the yogi seeks to send it up to the brain transforming it into 'Ojas', the highest form of energy.""
Chakra: Wheels of Fire
"The seven Chakras are arranged along the spinal cord, from bottom to top: 1. Muladhara 2. Svadhisthana 3. Nabhi-Manipura 4. Anahata 5. Vishuddhi 6. Ajna 7. Sahasrara."
"The term Chakra appears to first emerge within the Vedas, the most authoritative Hindu text, though not precisely in the sense of psychic energy centers, rather as chakravartin or the king who "turns the wheel of his empire" in all directions from a center, representing his influence and power. The iconography popular in representing the Chakras, states White, trace back to the five symbols of yajna, the Vedic fire altar: "square, circle, triangle, half moon and dumpling"."
"The Seven Churches of Revelation, also known as the Seven Churches of the Apocalypse and the Seven Churches of Asia, are seven major churches of Early Christianity, as mentioned in the New Testament Book of Revelation."
Asia is The Land of The Sunrise
"Asia c. 1300, from Latin Asia, from Greek Asia, speculated to be from Akkadian asu "to go out, to rise," in reference to the sun, thus "the land of the sunrise." Used by the early Greeks of what later was known as Asia Minor; by Pliny of the whole continent."
Macro & Micro Cosmos Are As One
"Macrocosm and microcosm refers to a vision of cosmos where the part (microcosm) reflects the whole (macrocosm) and vice versa. It is a feature "present in all esoteric schools of thinking", according to scholar Pierre A. Riffard. It is closely associated with Hermeticism and underlies practices such as astrology, alchemy and sacred geometry with its premise of "As Above, So Below". Today, the concept of microcosm has been dominated by sociology to mean a small group of individuals whose behavior is typical of a larger social body encompassing it. A microcosm can be seen as a special kind of epitome. Conversely, a macrocosm is a social body made of smaller compounds. In physics, scale invariance describes the same phenomenon, although the universe as a whole is not physically scale invariant according to the modern understanding. However, scale invariance does appear in some physical systems, such as electrical breakdown. This theory was initiated by Pythagoras who saw the cosmos and the body as a harmonious unity. He expressed this connection with his concept of microcosm and macrocosm."
Seven: The Number of Notes In An Octave
"The most important musical scales are typically written using eight notes, and the interval between the first and last notes is an octave. For example, the C major scale is typically written C D E F G A B C, the initial and final Cs being an octave apart."
source: Octave - Wikipedia
"Engraving from Renaissance Italy (Gafurius's Practica musice, 1496) showing Apollo, the Muses, the planetary spheres and musical modes."
Origins: Orbital Resonance
"Musica universalis (literally universal music), also called Music of the spheres or Harmony of the Spheres, is an ancient philosophicalconcept that regards proportions in the movements of celestial bodies—the Sun, Moon, and planets—as a form of musica (the Medieval Latinterm for music). This "music" is not usually thought to be literally audible, but a harmonic, mathematical or religious concept. The idea continued to appeal to thinkers about music until the end of the Renaissance, influencing scholars of many kinds, including humanists. Further scientific exploration has determined specific proportions in some orbital motion, described as orbital resonance."
"The discovery of the precise relation between the pitch of the musical note and the length of the string that produces it is attributed to Pythagoras. The Music of the Spheres incorporates the metaphysical principle that mathematical relationships express qualities or "tones" of energy which manifest in numbers, visual angles, shapes and sounds – all connected within a pattern of proportion. Pythagoras first identified that the pitch of a musical note is in inverse proportion to the length of the string that produces it, and that intervals between harmonious sound frequencies form simple numerical ratios. In a theory known as the Harmony of the Spheres, Pythagoras proposed that the Sun, Moon and planets all emit their own unique hum based on their orbital revolution, and that the quality of life on Earth reflects the tenor of celestial sounds which are physically imperceptible to the human ear. Subsequently, Plato described astronomy and music as "twinned" studies of sensual recognition: astronomy for the eyes, music for the ears, and both requiring knowledge of numerical proportions. Aristotle criticised the notion that celestial bodies make a sound in moving in the context of his own cosmological model."
"The connection between music, mathematics, and astronomy had a profound impact on history. It resulted in music's inclusion in the Quadrivium, the medieval curriculum that included arithmetic, geometry, music, and astronomy, and along with the Trivium (grammar, logic,and rhetoric) made up the seven liberal arts, which are still the basis for higher education today. A small number of recent compositions either make reference to or are based on the concepts of Musica Universalis or Harmony of the Spheres. Among these are Music of the Spheres by Mike Oldfield, Om by the Moody Blues, The Earth Sings Mi Fa Mi album by The Receiving End of Sirens, Music of the Spheres by Ian Brown, and Björk's single Cosmogony, included in her 2011 album Biophilia. Earlier, in the 1910s, Danish composer Rued Langgaard composed a pioneering orchestral work titled Music of the Spheres. Music of the Spheres was also the title chosen for the musical foundation of the video-game Destiny Destiny,and was composed by Marty O'Donnell, Mike Salvarori and Paul McCartney."
quotes and art source: https://en.wikipedia.org/wiki/Musica_universalis
The Apocalypse of The True Divine Comedy: The History of Outer Space Exploration
"Deus ex machina is a Latin calque from Greek ἀπὸ μηχανῆς θεός (apò mēkhanês theós), meaning 'god from the machine'. 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. "
"Deus ex machina (Latin: [ˈdeʊs ɛks ˈmaː.kʰɪ.naː]: /ˈdeɪ.əs ɛks ˈmɑːkiːnə/ or /ˈdiːəs ɛks ˈmækɪnə/; plural: dei ex machina) is a plot device whereby a seemingly unsolvable problem in a story is suddenly and abruptly resolved by an unexpected and seemingly unlikely occurrence, typically so much as to seem contrived. Its function can be to resolve an otherwise irresolvable plot situation, to surprise the audience, to bring the tale to a happy ending, or act as a comedic device." Deus ex machina is a Latin calque from Greek ἀπὸ μηχανῆς θεός (apò mēkhanês theós), meaning 'god from the machine'. 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."
"In apocryphal works including the Acts of Peter, Pseudo-Clementines, and the Epistle of the Apostles, Simon also appears as a formidable sorcerer with the ability to levitate and fly at will. He is sometimes referred to as "the Bad Samaritan" due to his malevolent character. "
"Simon the Sorcerer, or Simon the Magician (Latin: Simon Magus, Greek Σίμων ὁ μάγος), is a religious figure whose confrontation with Peter is recorded in Acts 8:9–24. The act of simony, or paying for position and influence in the church, is named after Simon. According to Acts, Simon was a Samaritan magus or religious figure of the 1st century AD and a convert to Christianity, baptised by Philip the Evangelist. Simon later clashed with Peter. The Apostolic Constitutions also accuses him of "lawlessness" (antinomianism). According to Recognitions, Simon's parents were named Antonius and Rachel."
Deus Ex David Copperfield:
"David Copperfield has performed a levitation illusion in several magic shows since 1992 in which he appears to fly on stage for several minutes, while surrounded by audience members. The flight is notable for its graceful motion and unencumbered appearance. The illusion was included in Copperfield's CBS TV special The Magic of David Copperfield XIV: Flying—Live The Dream (1992), and has been repeated several times during Copperfield's live tours around the world. The method was created by John Gaughan. An essential contribution to make fluid movements was given by his assistant, dancer and choreographer Joanie Spina."
"During the trick, Copperfield flies acrobatically on the stage, performs a backflip in midair, and then has spinning hoops passed around him, supposedly to prove that he is not suspended by wires. He then floats down into an acrylic glass box which has previously been examined by two audience members, and continues to float inside after the box is covered. An assistant walks over the top of the box, and Copperfield walks upside down moving his feet under the assistant's feet. He then selects a female volunteer from his audience and flies with her in a fashion similar to Superman carrying Lois Lane. The illusion sometimes ends with a falcon named Icarus grasping Copperfield by the wrist and flying off stage with him. A blue backcloth is used in the background, and the television version uses fake clouds hanging from the ceiling, taking advantage of a larger stage than is used in theatrical appearances. The performance is accompanied by an orchestration called "East of Eden Suite" by film composer Lee Holdridge, originally written as the theme music for a 1981 miniseries based on the novel East of Eden. Before performing, Copperfield often declares that it took him seven years to develop the performance, and shows a video describing for how long men had dreamed of flying, and how many people before him had tried unsuccessfully. Copperfield performed a much-shortened version of the illusion as the entrance in his sixteenth television special, The Magic of David Copperfield XV: Fires Of Passion, in 1993. The performance used a different background and music, in addition to burning spinning hoops."John Gaughan described how the trick works in US Patent #5,354,238. According to the patent, the performer is supported by two fan-shaped arrays of fine wires that remain invisible to the viewing audience. The wires are about ⁄4 mm thick, and support about 10 kg each; the arrays contain more than enough wires to support the performer's weight. The wire arrays are mounted at the hips, near the human center of mass, to a harness worn under the clothing. This creates a balance point facilitating a wide range of movements while suspended. The wires are attached to a complex computer-controlled rig above the stage that maintains the tension in each wire, and keeps each array of wires perpendicular to the audience's line of sight so that the wires never overlap one another, which might allow the audience to see them. During the later phases of the performance, two hoops are used simultaneously, which aids the deception as the hoops do not come into contact with the wires. Instead, each ring is brought flush to the wires before being twisted under Copperfield. In the glass box demonstration, the top of the box is threaded between the two sets of wires in a vertical position, before being rotated 90 degrees and lowered into place. The wires remain in place while the performer is in the glass box, passing through crevices between the lid and the sides. Since the box limits movement and he is only able to rotate on one axis, he stays side-on to the front of the audience while in the box. When flying with a volunteer, he holds her in front of him, and she does not come into contact with the set-up."
Outer Space is an imagine modern mythological concept and not a real place anyone could ever visit.
Website link: https://archive.org/details/newtonspmathema00newtrichhttps://en.wikipedia.org/wiki/Apollo_9 • https://en.wikipedia.org/wiki/Apollo_10 • https://en.wikipedia.org/wiki/Apollo_11 • https://en.wikipedia.org/wiki/Apollo_12
""Our Friend the Atom" is a 1957 episode of the television series Disneyland describing the benefits of nuclear power and hosted by Heinz Haber. A book form, published in 1956, also exists."
Operation Nazi Disneyland
"After the end of the war Heinz Haber — as well as several other Germans involved in military research like Wernher von Braun — was targeted by the Operation Paperclip with the aim of denying scientific expertise and knowledge to the Soviet Union and bringing researchers and scientists to the United States; Ultimately this operation resulted in a considerable contribution to the development of NASA. Haber at first stayed in the American occupied zone of Germany and lectured at Heidelberg. However, in 1946, he emigrated to the United States and joined the USAF School of Aviation Medicine at Randolph Air Force Base. Together with fellow German Hubertus Strughold, he and his brother Dr. Fritz Haber (April 3, 1912 – August 21, 1998) made pioneering research into space medicine in the late 1940s. The brothers proposed parabolic flights for simulating weightlessness."
"In 1952, he became associate physicist at the University of California, Los Angeles; in the 1950s, Haber eventually became the chief scientific consultant to Walt Disney productions. He later co-hosted Disney’s Man in Space with von Braun. When the Eisenhower administration asked Disney to produce a show championing the civilian use of nuclear power, Heinz Haber was given the assignment. He hosted the Disney broadcast called Our Friend the Atom and wrote a popular children’s book with the same title, both of which explained nuclear fission and fusion in simple terms. General Dynamics, a manufacturer of nuclear reactors, sponsored Our Friend the Atom and the nuclear submarine ride at Disneyland’s Tomorrowland. In the 1960s and 1970s, he was well known in Germany as a popular science spokesperson and wrote magazine columns and numerous books and presented his own TV programs like Professor Haber experimentiert, Das Mathematische Kabinett, Unser blauer Planet, Stirbt unser blauer Planet?, Professor Haber berichtet, and WAS IST WAS mit Professor Haber. He was founding editor of the German science magazine Bild der Wissenschaft from 1964 to 1990. His memorable experiments included one where the onset of a nuclear chain reaction was simulated with hundreds of mousetraps, each one having been loaded with two ping pong balls."
Nazis & Disney Get Everyone Lost in Outer Space
""Man in Space" is an episode of the American television series Disneyland which originally aired on March 9, 1955. It was directed by Disney animator Ward Kimball. This Disneyland episode (set in Tomorrowland), was narrated partly by Kimball and also by such scientists Willy Ley, Heinz Haber, and Wernher von Braun; as well as Dick Tufeld of Lost in Space fame. The show talks briefly about the lighthearted history of rockets and is followed by discussions of satellites, a practical look (through humorous animation) at what humans in space will have to face in a rocket (both physically and psychologically, such as momentum, weightlessness, radiation, even space sickness) and a rocket takeoff into space. The next episodes in this series were "Man and the Moon" and "Mars and Beyond," airing in seasons 2 and 4, respectively."
""Man and the Moon" is an episode of Disneyland which originally aired on December 28, 1955. It was directed by Disney animator Ward Kimball. It begins with a humorous look with a man's fascination with the Moon through animation. This segment features characteristics of the Moon depicted from William Shakespeare and children's nursery rhymes to lunar superstitions and scientific research. Then Kimball comes on with some information on the Moon, supplemented by graphics. Kimball then introduces Dr. Wernher von Braun, who discusses plans for a trip around the Moon. Dr. Wernher von Braun was employed as a technical consultant on this film by Walt Disney, and on a number of other Disney films. He had a great knowledge of rockets, as he had helped to develop the V-2 rocket while working for Nazi Germany."
"Finally, a live action simulation from inside and outside the manned Lunar Recon Ship RM-1 dramatizes what such an expedition might be like, including an almost-disastrous hit by a very small meteor. Towards the end, this film presents what seems to be a bit of 'sci-fi'; as the RM-1, crossing the Moon's night side, approaches the night/day terminator, high radiation is suddenly detected, and a flare fired over the area reveals what looks like a rectangular double wall, or the ruins thereof, extending out from a crater; strangely, none of the crew remark on it, and the unusual radiation is never mentioned again. This episode later reaired in 1959 under a new title: Tomorrow the Moon. This episode was preceded by "Man in Space" and followed by "Mars and Beyond.""
Real wisdom appears to be scattered.
Superman is fantasy.
Nobody has all the answers and there is no single guidebook that explains existence. In my opinion humanity is not omniscient nor omnipotent as its own "scientific" marketing mythological advertising claims. Metaphysical musings backed by Royal Society inspired, peer reviewed, mathematically fallacious equations that model fantasy is no substitute for actual demonstrable natural principle, IE a real demonstrable experiment that can be reproduced over and over. No one source seems to have it completely correct and no single source appears to necessarily have it completely wrong. Apparently the truth is something each individual must find on their own after considering information from a myriad of sources and only after panning sleep inducing sand from inspiring proverbial gold.
Origins of NASA: Outer Space Evolves
Woman In The Moon (1929)
"As part of the film’s publicity, Oberth and his teenage assistant, Werner von Braun, intended to launch an actual rocket to coincide with the film’s Ufa Palace premiere. Though this launch never came to fruition, the two men had long careers in international rocketry: they both went on to become part of Hitler’s V-2 rocket program. When the German military began to develop its program in earnest, the military police confiscated Lang’s scale models, diagrams, and even film prints, treating them all as secrets of the state. (Lang had previously donated all of these elements to the Verein fur Raumschiffarht Rocket Society.) Oberth also went on to technically advise the United States’ first real cinematic prediction of a lunar landing, Destination Moon (1950), which predicted the use of a nuclear-powered rocket."
"Historically, film scholars and military officials alike praised Woman in the Moon for its startling accuracy of vision. Lang consulted closely with Germany’s leading rocketry expert, Hermann Oberth, and together they visually replicated the rocket described in Oberth’s influential book, Rocket into Interplanetary Space. 40 years prior to the United States’ Apollo 11 lunar landing, Lang’s and Oberth’s predictions as to what such an expedition would require hold amazing scientific legitimacy, lending technical and therefore psychological weight to the film’s lengthy proceedings. Their rocket correctly requires a significant escape velocity in order to free itself from the Earth’s orbit, so the film envisions a multiple-stage booster system with a fin stabilisation design for the rocket’s base. Liquid fuel propels the rocket, which once in space gives us cinema’s first depiction of a crew floating in zero gravity. Before the launch, a media frenzy descends upon the area – Lang correctly imagines the first attempted lunar landing as a worldwide attraction. And when the rocket lands on the moon, the crew encounters lower gravity as they venture out onto the surface."
"Hermann Julius Oberth (German: [ˈhɛrman ˈju:lɪʊs ˈo:bɐt]; 25 June 1894 – 28 December 1989) was an Austro-Hungarian-born German physicistand engineer. He is considered one of the founding fathers of rocketry and astronautics, along with the French Robert Esnault-Pelterie, the Russian Konstantin Tsiolkovsky and the American Robert Goddard."
"In parts of 1928 and 1929, Oberth also worked in Berlin, Germany as a scientific consultant on the film, Frau im Mond ("The Woman in the Moon"), which was directed and produced by the great film pioneer Fritz Lang at the Universum Film AG company. This film was of enormous value in popularizing the ideas of rocketry and space exploration. One of Oberth's main assignments was to build and launch a rocket as a publicity event just before the film's premiere. He also designed the model of the "Friede", the main rocket portrayed in the film."
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