BIG MONEY AND PUBLIC CONSUMPTION SCIENCE
This is probably one of the most important articles ever to appear in The Daily Bell, or for that matter, anywhere else, but we’ll get to why I think this to be the case, after the article itself:
No, Economist (Magazine): The Real Problem of Big Science is Big Banking
The Daily Bell has put its finger on a central philosophical problem of modern “big science,” namely, the promotion and evolution of a kind of “public consumption” science in each of the scientific disciplines that have, as their underlying connective meme, the theme of scarcity and zero-sum games, with “winners and losers.” And this meme, in turn, has, as its underlying assumption, a commitment to philosophical materialism as the be-all and end-all explanatory paradigm into which all “science” must fit or conform. I think, as I compose this blog, specifically of the work of biologist, Dr. Rupert Sheldrake, and its simple posing of questions that challenge those exclusively materialist assumptions with his hypothesis of a “morphogenetic field.” Dr. Sheldrake asks a simple question: how is it that two groups of a species, completely isolated from each other, will transmit information to each other with no apparent means of physical contact? How does one group of a species on an isolated island transmit a solution or learned behavior, to a group of the same species on another island, and having no physical contact with it? This is not a merely hypothetical or rhetorical question on Dr. Sheldrake’s part. It is something that has been observed. For his part in forming the question and offering a tentative conclusion – a kind of immaterial biological version of photon or quantum entanglement, but on a much more macro-scale of entire population groups – he has been villified, attacked, spurned, and in general, treated less than courteously by many of his scientific colleagues.
He has, in short, challenged the materialist assumption reigning in much of biology. And so it goes across the board.
Indeed, as a general statement, it could be asked why non-materialist assumptions or approaches seem so often to be challenged by “big science” and hence, more importantly, by Big Bank Money? Is there a connection between the two? The behavior of major money interests in promoting such memes in science raises the question of whether they are interested in real science, or only that science that tends to support their own cosmology, a cosmology designed to reinforce their monopoly on the creation of monetized debt.
I would, indeed, suggest that this is the real and deeply hidden connection, and it is an historical one. I have written often about what I have called the “Topological Metaphor of the Medium” and more recently about its almost limitless creation of “debt-free” information. As I wrote recently in Financial Vipers of Venice, we find the financial elites of the day busily engaged in the suppression of this version of the metaphor, and the substitution, in its place, either of limitless creation of fiat monetized debt, with all the sacrificial systems and ideologies connected with it in the suppression of the individual person and his or her creativity(the thing of real value), or the substitution of systems of bullion-based finance, again in an effort to impose limits and zero-sum games.
I would respectfully suggest, then, that The Daily Bell is indeed on to something, but would suggest that the roots of it go much deeper. Not for nothing did medieval and Renaissance Venice become the home of the original Malthusianism, and the first (wildly inaccurate) estimates of the “maximum carrying capacity” of the population sustainable by planet Earth, but also this corrupt oligarchical republic was the home to the suppression of that Metaphor, and its advocates, by the most brutal of methods (like being burned alive). It was home, too, to the original “cult of materialism”, in its dogged defense and use of Aristotle. For those aware of the story the Daily Bell is so aptly exposing in this article, the story goes back, not just to JP Morgan’s suppression of Tesla, but at least as far as the Middle Ages, and to the life and death struggle that Venice waged against the re-emergence of that Metaphor. It won that battle, but only temporarily… but that’s another story.
Read more: THE DAILY BELL: BIG MONEY AND PUBLIC CONSUMPTION SCIENCE
- Giza Death Star Community
This is an outstanding revelation of how the spirit world dimension interacts with ours here among the living. Kim Russo is a fabulous medium proven reliable time and time again. Her show "The Haunting Of...." fill in the blank - usually some well known personality - has become my favorite paranormal reality show lately. Russo does not allow negative spirit situations to automatically be interpreted as being demonic. Instead, she confidently stands her ground and fleshes out why a spirit has become a problem haunter, and then gently ushers the spirit to the light. Her outcomes are nearly always positive in the end. In this case she is visiting a famously haunted ancient castle with actor Charles Schaughnessy who as a boy visited the castle once a year with his family. There was one large room that no one was allowed to go into it because of the violence of the spirit sequestered inside who as it turns out was a rapacious business man from the 17the century who had poisoned some of his competitors at his own dining table and done who knows what all else - a sort of 17th century mafioso. As Russo and Schaughnessy gradually tease out the spook was afflicted with fear of going to Hell for his deeds and therefore had never had the courage to "go to the light" which is a common situation with bad ghosts. After being urged to move on with the guarantee that love and forgiveness awaits even such dastardly people the spirit flies up and away and a centuries old haunting is brought to an end.
Equally fascinating is listening to Russo describe Schaughnessy's deceased relatives in startling detail as they flock around to be of service and give the exorcism courage. Schaughnessy was just blown away and brought to tears by the detail Russo came up with - it far exceeded anything she might have sleuthed out on her own beforehand, but just watching Russo as I have done for a couple of years now I cannot imagine she would commit such frauds anyway. She is a wonderful human being with an extraordinary gift and a huge heart, and this is one of the best episodes. Anyone claiming a right to an opinion about such matters needs to watch the pinnacle of modern investigations before passing judgement one way or another. This is not flaky Victorian parlor stuff.
This is a Special Sneak Preview of the newest World's tallest skyscraper; the Zephyr Super-Tower in Kimbap City, Democratic Peoples Republic of Central Eastern Korea, in the DMZ. It was unveiled last week at a celebration attended by various celebrities, including folk singer Pete Seeger who called it a terrible waste of money, and Dennis Rodman who is considering relocating to the DPRCEK. During the opening celebration Cicciolina ( Ilona Staller ) jumped out of a giant cake wearing almost nothing. Don Novello, better known as Father Guido Sarducci of SNL late night TV fame, accidentally got lost in the Titanic sized mega-building, and it took security staff nearly three hours to find him. By that time Don was fast asleep in one of the Luxury Penthouses. Jefferson Starship and The Spin Doctors played to a packed house audience, with Peter Gabriel closing the night. The fireworks display was so massive and long it nearly caused war to break out between the Koreas. The least expensive floor will set you back 200 Million US Dollars! It is nearly twice as high as The Burj in Dubai. The top of the building hold a massive glass pyramid, within which are observation decks, two restaurants, a cafe, and an astronomical observatory. More information is in this promo video:
Inspired by the latest PLUS extension in episode 10.14 of Mysterious Universe...
Watch Jon Stewart interview Nobel Peace Prize nominee Malala Yousafzai, the 16-year-old girl who was targeted for execution by the Taliban in Pakistan, and have your faith in the future of Mankind completely restored.
Because nothing scares the crap out of fear-mongerers & criminals than a child with a book on its hands. The day we devote more resources into libraries & schools than into weapons & military bases, is the day we'll finally grow out of our species' adolescence.
WARNING: NSFDE (Not Safe For Dry Eyes)
This musical genre was somewhat unknown to me though it certainly owes a lot to Sun Ra, but the originality is impressive, and it sounds at times as if they might be on the cusp of a truly new popular music. New musics have their own unique psychology, and until that is worked out and agreed upon by a batch of listeners it doesn't take off. This could take off though. They feel close to a breakthrough.
It seems that articles and posts which cross-over or blend the themes of popular motion pictures and spirituality seem to rise up out of the culture periodically. The Huffington Post’s Hollywood Probes Spirituality Without Getting Preachy(10/25/2010) and The Daily Grail’s Top Ten Afterlife Movies (10/22/2010) are examples. Not at all surprising, given that movies (or well executed television shows like Breaking Bad) and time spent contemplating our own death are probably two of the more engrossing things we engage with some degree of regularity, especially as we age.
Now there is a whole book devoted to "crossing over", both as cinematic and spiritual themes and as an inevitable reality: Death at the Movies: Hollywood’s Guide to the Hereafter.
Anything existing beyond the physical fact of death can be imagined and described only in the relative terms of human thought and language. “Afterlife” movies reveal such projections as the product of the film maker’s (and viewer’s) ideas, memories, reflections, dreams, and fantasies.
At the same time, movies depicting that curious in-between space between death and what is unknown, designated in "Death at the Movies" as "transit", have been referred to by Tibetan Buddhists for over two thousand years as the bardo, the state of the soul between death and rebirth. Movie bardos can range from sentimentally charming and delightful to chillingly frightening and grim. Good Hollywood entertainment! Enjoy them. Learn from them. Distinguish them from the real bardo. At times, they are the same.
Widely considered to be the ultimate do-it-yourself text on achieving liberation or a favorable rebirth upon one’s death, The Tibetan Book of the Dead’s teachings explore, “the whole of life and death presented together as a series of constantly transitioning realities known as bardos. The word bardo is commonly used to denote the intermediate state between death and rebirth but, in reality, bardos are occurring continuously throughout both life and death and are taken as junctures when the possibility of liberation or enlightenment is heightened.” (Sogyal Rinpoche, The Tibetan Book of Living and Dying)
How the popular medium of motion pictures embody and project to the public commonly-held beliefs, convictions, hopes and fears about death, the afterlife, and what lies between is experienced in the primarily unconscious projections of those beliefs via movies in the 1930s and 40s, particularly within the genre called film blanc. Then, in a major cultural shift, it is to follow the more conscious projection of those beliefs subsequent to our culture’s broad assimilation of Buddhist Teachings in the 1960s and beyond.
That humans seem to possess an innate intuition of some experiential state beyond this life is regularly confirmed by many accounts of near-death experiences (NDEs), psychedelic explorations, and other out-of-body occurrences, not to mention meditative or contemplative paths.
That Hollywood movies have incorporated, digested and conveyed the delicate subject of our inevitable transition between this life and what lies beyond is not surprising. Knowledge of the bardo or transit world between this life and other states of being began to reach large numbers of Americans in the early 1960s with the wide interest generated by the Galaxy Book paperback publication of W.Y. Evan-Wentz’s translation of The Tibetan Book of the Dead.
Of course, any number of other cultural and social factors contributed to a massive awakening in the west of a broad and serious interest in the subject of life beyond death. Primary were the consciousness, growth, and drug movements of America’s 1960s and 1970s, helped along not only by the wave of spiritual migrations from the east but by a tidal wave of mind-altering drugs.
The wholesale ingestion of a veritable smorgasbord of eastern spirituality during this period initiated large segments of western society into a broadly theoretical comprehension of new concepts dealing with death and transcendence. China’s 1950 invasion of Tibet triggered a major diaspora of that culture’s teachers and teachings into both Europe and the United States, manifesting in the founding and flowering of numerous Buddhist monasteries throughout North America by the mid 70’s.
During this same period Timothy Leary, Ralph Metzner, and Richard Alpert (Baba Ram Das), high priests of America’s psychedelic revolution, released The Psychedelic Experience, an LSD travel guide based upon the aforementioned Tibetan Book of the Dead: The After-Death Experience on the Bardo Plane, published in 1927 in an “English Rendering” by Lama Kazi Dawa-Samdup, and compiled by W.Y. Evans-Wentz, with a Psychological Commentary by C.G.Jung.
In 1974 there was E.J. Gold’s American Book of the Dead, a book published not strictly for the dead “but for all labyrinth voyagers, all those who wake up dead, deep in one kind of sleep or other.” In 1975, a new, more user-friendly translation with commentary, The Tibetan Book of the Dead: The Great Liberation Through Hearing in the Bardo, was put out by Francesca Fremantle and Chogyam Trungpa. This was followed in 2003 by the very accessible Luminous Emptiness, written and translated by Francesca Fremantle “not as a scripture to be read to the dying but as a guide for the living.”
All of these served to initiate thousands of young American seekers-after-truth into the mysteries of the transit experience. Too, related research into death and near-death experiences as contained in books such as Raymond Moody’s Life After Death, Robert Monroe’s Journeys Out of the Body, and the various works of Elizabeth Kubler-Ross created an enormous interest in both Near Death Experiences, NDE’s, and a growing exploration of what lies beyond.
As to ranking the best, or attempting a top ten selection of films conveying the spirit of transit or bardo movies, we can begin with the film blanc genre of the 1940s. In his 1978 article The Film Blanc: Suggestions for a Variety of Fantasy, 1940-45, Peter L. Valenti singled out for exposition a selection of motion pictures containing uniquely specific phenomena found in the popular genre of motion pictures designated fantasy films.
Playing off the broad popularity of the film-noir genre of the 1940s and ’50s Valenti called his selection “film blanc,” suggesting as a specific genre fantasy scenarios embodying the following characteristics: 1. a mortal’s death or lapse into dream; 2. subsequent acquaintance with a kindly representative of the world beyond, most commonly known as heaven; 3. a budding love affair; 4. ultimate transcendence of mortality to escape the spiritual world and return to the mortal world. It was suggested that these popular afterlife fantasy-dramas produced during the World-War-II years provided, consciously intended or not, comfort for those at home grieving for loved ones lost to the ravages of war.
Film blanc included such classics as Here Comes Mr. Jordan (1941), A Guy Named Joe (1943), Between Two Worlds (1944), Blithe Spirit (1945), The Horn Blows at Midnight (1945), Angel on My Shoulder (1946), A Matter of Life and Death (released in the United States as Stairway to Heaven, 1946), and America’s most beloved Christmas movie, Frank Capra’s It’s a Wonderful Life (1946), all released or in production during the war years. When the war ended the country returned to a specious normalcy and film blanc lay dormant as its audience’s mood turned to a nation’s dark underbelly and unacknowledged trauma, reflected in motion pictures by film noir, a genre that explicitly denied all possibilities of transcendence to portray a world of violence, cynicism, and death.
Valenti’s article acknowledges Siegfried Kracauer’s Theory of Film for its theoretical treatment of fantasy, noting that the American fantasy film grew in popularity during the 1930s, peaked during the early 1940s, and declined in the late 1940s. Valenti points out that different sorts of fantasy are combined with angels, pacts with devils, mysterious reincarnations, and beckoning spirits, and that during this general period American film seems to have been entranced by the idea of negotiating between heaven and earth, moving from the mortal plane to the spiritual.
In defining his selection of films, Valenti was at the very least describing a sub-genre of the American fantasy film, somewhat confined by his four characteristics and restricted time frame. He published his article just two years before the release of Resurrection (1980), a film that resuscitated the life of film blanc and reflected the spiritual/consciousness/growth/drug movements of America’s 1960s and ’70s, opening the screen to a body of film-blanc-type movies now informed by popular eastern concepts of death and what follows.
In a way, the film blanc genre had never really run its course but rather gone underground, its themes encoded into any number of popular ghost and fantasy films of the post-war period; fims such as The Ghost and Mrs. Muir, Portrait of Jenny, or Heaven Only Knows.
The ironically but appropriately titled Resurrection led to any number of fascinating films constructed around the subject of death, dying and rebirth (actual or psychological), any one of which might be considered for a Ten Best “Afterlife” List (even though you could probably fill such a list with just the film blanc movies of the forties).
Without ranking, we would add to the film blanc movies mentioned above the following: Poltergeist (1982), Beetlejuice (1988), Field of Dreams (1989), Ghost (1990), Jacob’s Ladder (1990), Truly, Madly, Deeply (1991), Defending Your Life (1991), Groundhog Day (1993), Heart and Souls (1993), Interview with the Vampire (1994), Sixth Sense (1999), Purgatory (1999) and Birth (2004).
We find these films, “beyond” conveying ideas rooted in the deepest perennial wisdom of the planet’s various cultures, and “beyond” being sometimes funny, sometimes poignant and often uplifting, to be simultaneously informative, enlightening and just plain entertaining.
* * *
Lyn & Tom Davis Genelli have been writing about the cross fertilization of movies, psychology, and spirituality for 28 years. Their book, Death at the Movies: Hollywood’s Guide to the Hereafter has just been published by Quest Books.
That's what my birth certificate & the calendar say, anyway.
Do I look 40? Well, the gray hairs on my goatee are becoming more widespread, but still look a bit out of place with the remnants of the acne which appeared on my puberty, and apparently became so infatuated with my face that it decided never to leave.
Do I feel 40? That's a tricky question. Physically I'm not in the greatest of fitness, but neither are scores of men & women younger than me. That's not age, that's sedentarism.
I haven't yet suffered of a heart attack *knocks on wood* but I on the other hand already suffer from a form of arthritis called ankylosing spondylitis, so rare it's like winning the lottery but backwards, because it sucks.
How about mentally? That's a big resounding 'No.' It's probably not something to brag about, because it might just be a result of my deep immaturity --Wot, you tellin' me I can't watch Spongebob Squarepants no more? GTFO!
I remember how back in the 90's discussing the so-called Peter Pan Complex was all the rage on the radio & TV talk shows. Now perhaps it's not that interesting because EVERYBODY is suffering it. There's a reason why the biggest-grossing movies made in Hollywood are based on comics, and the video-game industry is now even bigger than Hollywood.
Mid-life crisis in the 80's was about buying a sports convertible & hair inserts. Perhaps mid-life crisis in 2013 is now resolved with a Spartan armor replica & a pair of Oculus Rift.
The thing is, it doesn't feel like I'm about to experience a mid-life crisis. Oh sure, it's inevitable to look back & make an assessment of one's accomplishments, and there's definitely a lot of things I would have liked to have achieved by now. Professionally I'm nowhere near as where I'd like to have been when I was in my early 30's. Financially… let's just change the subject.
Which brings us to the final item on the checklist: My emotional state.
If I make an honest evaluation of my general mood, I'm forced to conclude that I feel happier than how I felt 10 years ago.
Back in those days things didn't look too good for me, and for that a little anecdote is in order: Back in my mid-twenties, I had somehow managed to land a job in one of the biggest architectural firms in Mexico --maybe even the world (Srsly)-- and I felt like Leo on Titanic, the king of the world starting a promising career with the right foot. If I played my cards right, the sky was the limit!
I lasted approximately 7 months on that job.
During the whole time I felt a continuous sense of disappointment over the fact that my suggestions & ideas were not only unnoticed --they were unwelcome. "We already have 2 dreamers in this studio," they once told me, referring to the founder of the firm & his son, who would eventually take over when the time came. "Your job is to bring their dreams into fruition."
That. Pissed. Me. Off.
Furthermore, I was expected to perform the most menial of tasks with a big smile on my face, to show how grateful I was that I was given the opportunity to apply my college diploma, from one of the top schools in my country… by faxing letters & using the copy machine.
So I was eventually shown the door. It wasn't the first time, you know. Already I knew I had a problem with authority & a very strong temper which forced me not to stay quiet, when I was given an order I considered nonsensical or just plain stupid. On my first job after college I quit & walked out of a pending assignment in protest. On my second job I was fired, thus beginning a routine in which I either walked out of a job or was kicked out. A routine that still persisted after I was fired from what I considered to have been my ticket to stardom, here at the world-famous architecture firm.
My one chance in life to show what I was capable of, and I blew it. I'm sure you all can imagine what that does to your self-esteem.
Later in life I realized that depression ran deep in my family, with both my father & my oldest sister suffering from it, but back then I didn't know that. My sister offered me to take me to see a psychiatrist, who after a looong session with me prescribed some anti-depressants. But since I didn't have a medical insurance, the fact that I couldn't afford to buy the anti-depressants made me more depressed! So I decided to stop taking them (a rather lucky outcome in retrospect of what I now know of these type of medication.)
In sum, the black dog was continually biting me on the shins. I would often spend the weekends doing nothing except sleeping, for sleep was the only thing disconnecting me from my dreadful existence. I would roll on the bed & observe the gradual attenuation of light passing through my window curtains, wondering about what hour it was, thought not really caring.
As I look back, now that I'm known as the Red Pill Junkie, I feel compelled to plagiarize Morpheus & conclude I was feeling the pain from that splinter on my head which torments so many of us in the Fortean community. But the splinter wasn't driving me mad; it was driving me suicidal.
During those days a good week was one in which I would only think about doing something stupid to myself once or twice, whereas a bad day was one in which the thoughts kept buzzing around my head like blow flies --"I'm a loser" "I'm a failure" "I've wasted my life" "I let down my parents" "The world would be better off without me."
That's when, due to a chain of events I can only describe as serendipitous, I found my way to The Grail. And then for reasons I still can't explain, Greg invited me to be part of the TDG news admins --more unbelievable still is that I accepted, despite my instinctual aversion to failure.
One of the best decisions I've made.
So now that you know the story, I hope you don't deem it too melodramatic when I claim that becoming a Grailer probably saved my life. It helped me realize there was a splinter in my head and the means to extract it & toss it to the garbage can once & for all.
It saved my life because it gave it a purpose.
During the last 8 years that I've been part of this community, I've seen my circle of online comrades grow exponentially. It also opened for me opportunities I wouldn't have dreamed of 10 years ago: the chance to be a producer of content instead of a mere consumer. One of the great joys I've received lately is whenever I'm interacting on other forums & someone lets me know how much they enjoyed the column I write for Mysterious Universe; or the people who approached me last year during Paradigm Symposium and asked ME for an autograph(!). The fact that there's someone on the other side of the world who think it's worth their while to spend 10 or 15 minutes of their day, reading something I wrote is... well, beyond my writing abilities to describe.
Yes, the black dog is still there, roaming at my door step. Yes, my bank account is still laughably lean & I still need to obey nonsensical orders in order to pay the bills.
But my short tenure as the Red Pill Junkie has given me a sense of balance. A knowledge that there will always be things in our life aiming to take us down, but only if we let them. As the old Zen saying goes: Pain is inevitable, but Suffering is optional.
Meanwhile I know there's still oodles of things to explore on the web, and scores of people to discuss them with. The journey has become the destination, and for the first time in my life I can say that I'm content, but not as much as I know I'll be in the future.
So the calendar says I'm 40 years old. Meh.
What matters to me is that I'm an 8-year-old Gralien.
(Mexico city, October 4th 2013)
PS: Personal jetpacks, flying cars & cities on the Moon, all these I can very well live without. But where Science has totally failed me is this: The fact that now when I'm supposed to worry about such things, THIS is still the standard procedure for a prostate exam --Srsly XXIst century?
Where the hell is Elon Musk when you bloody need him?!!
For my latest installment at the Intrepid Blog, I pay tribute to the UFOlogical influences of my favorite music band in this --and any other-- planet: Café Tacuba.
BiG Foot VIDEO... please do not copy without prior permission. Share all you like.