The Oracle

One of the things that strikes me about our ‘reality’ is its resemblance to a dream. I’m certainly not alone in thinking that this strange universe we inhabit has dream-like characteristics, and during a recent conversation with a ‘lucid dreamer’ I likened the ‘voice’ that speaks to us through news articles, films, books, and indeed people ‘out there’ to that of the Oracle of Delphi. In other words, to that of a figure presenting us with weird, fragmented, prophetic utterances while lost in an associative trance state. When we become aware of this, the ‘reality’ we previously took for granted suddenly adopts an altogether different form. It seems very much like a hybrid cross between a game and a movie, to the extent that it’s often impossible to distinguish between the ‘reality’ presented to us in movies and the ‘reality’ presented to us by ‘reality’.

By way of example, just twelve days after the release of…

Dauphin County in the US suffered its worst nuclear disaster in the form of…

Those unaware that the above scenario represents the rule rather than the exception might be inclined to dismiss these curiosities as a case of art imitating life. By the standards of this ‘reality’, however, they’re normal occurrences that are frequently absurd and rarely quite so dramatic. The other day, for example, Doc Cooper and I were discussing Cybermen and a TV serialisation of Philip K Dick short stories entitled Electric Dreams. It has a ‘stellar’ cast…

This followed a reference to Blade Runner (the film version of Dick’s Do Androids Dream of Electric Sheep) in my previous post, Dreams of Empire. Needless to say, within a matter of hours the below email appeared in my inbox.

Of course, as soon as I Googled “C.H.I.P. cyberpunk” I found myself caught in a whirlwind and magically transported to the dream world of the Emerald City.

Meanwhile, in today’s Daily (F)Email…

By this stage, however, none of the above should come as a surprise. Like ‘Delphi Ellis’, we wrack our brains to divine ‘meaning’ from these stories and videos, and the focus is always on the content. Rarely do we stop to consider the source of this content, the medium through which content is transmitted…

Medium: an agency or means of doing something; a means by which something is communicated or expressed; the intervening substance through which sensory impressions are conveyed or physical forces are transmitted.

…or that the term ‘medium’ has an occult meaning. If the ‘medium’ is the ‘message’ then are we living in a Hollywood production?

When we look at content, the identity of the ‘stars’ – the ‘stellar cast’ – of this Silver Screen production should be obvious. It’s just a question of reading between the lines to determine which ‘roles’ the lucid dreamers are playing, which ‘characters’ they portray.

Games have come a long way since Pong and Pac-Man. They have producers and directors, and the line between games and movies has become blurred to the point that game characters have become movie characters and vice versa.

One of the most interesting aspects of the ‘dream’ is its technological nature. We think that our technology is something separate and apart from us, and that the digital brain we’ve draped over the globe is a recent addition. Yet dream worlds do not adhere to conventional understandings of time, cause and effect, and linear sequences, and our own dream world contains many hints and clues about this.

Today, each of us lives several hundred years in a decade. — Marshall McLuhan

For example, I recently watched a documentary about the Persian Empire. It was full of references to a ‘colossal engineering project’ that laid cables between Europe and Asia (East and West) in order to construct a ‘superhighway’ that would allow the Persians to ‘ride the waves’.

This is a subject I’ve written about before in The Colossus of Rhodes, pointing out that the early internet was referred to as the…

The road is our major architectural form. — Marshall McLuhan

Roads are mediums of communication, and every empire in ‘recorded history’ is associated with the construction of roads and great architectural works known as ‘cities’ and ‘capitals’. These ‘cities’ and ‘capitals’ are central ‘nodes’ from which flows of ‘traffic‘ originate, and to which they return. When the flow of traffic dries up, or is subjected to significant and prolonged disruption, it becomes impossible to impose rule from the centre. Consequently, the empire withers and dies.

For me at least, the question is this: when exactly did this ‘recorded his-story’ begin?

If everything out there is ‘content’, a reflection of the ‘Silver Screen’, then the only thing we can really be certain of is a) our own identity, and b) that we are in some sense ‘script writers’. Ultimately, it boils down to language, and more specifically to what the medium is and why it interprets and encodes our thoughts like classified information in an eternal James Bond movie.

All of which brings me back to The Oracle. There’s a history here, as she seems to have followed me around since I don’t know when. For example, in order to code in the English-like programming language called COBOL I had to download a database library, and to do that I had to sign up for an Oracle account and accept the ‘terms and conditions’…

As I’ve mentioned before, the ‘COBOL Engineering job’ seems to form part of the dream world…

Back in the 1990s, I used to work with COBOL on ‘big iron’: a room full of huge ICL mainframes. Shortly before I left, my employer began work on decommissioning these ‘green screen’ legacy systems in order to replace them with a client-server system, running code written in…

All well and good, but what was the effect of this change from a ‘monolithic’ to a ‘distributed’ form of architecture? Code ran faster and the new Graphical User Interfaces were nice and pretty, but the underlying ‘rules of the game’ remained unchanged. They weren’t rewritten so much as translated from one language to another.

This seems to reflect my own ambiguity towards technology in general and The Oracle in particular. On the one hand, modern technology offers the promise of a decentralised world, yet on the other hand what we see ‘out there’ is a world that seems to be fixated on imposing and retaining control from the centre.

Here’s the thing though: if our ‘reality’ is a reflection then the characters and corporations and countries that we think ‘rule the world’ don’t actually ‘rule the world’. Rather, the struggles between these entities seem to caricature petty struggles between the ‘lucid dreamers’, struggles which are amplified to absurdity and projected on the Silver Screen we call ‘reality’.

In other words, the medium’s ‘core code’ seems specifically designed to keep us in an Age of Empires, an age in which the ‘symbolic instruction code’ of our thought and language manifests in 3D as conflict and competition between individuals and corporate bodies.

If we apply the above to technology and the internet, we have to ask what it represents. The internet is often presented as an anarchic system controlled by no single body or agency. That’s not really the case though. Once again, it’s difficult not to conclude that it’s all about US.

Since ICANN reports to the US government’s Department of Commerce, the domain name process is effectively overseen by the US government. China, Russia and Europe have all expressed concern at this situation because it means the US has leverage over the global coordination of the internet. “It has a role that is different from the role of all other governments,” says Massimiliano Minisci, a regional manager at ICANN. “That’s a concern around the world.”

All of which raises other interesting questions, such as what it really means to hack a computer or a network. I mean, just what is the modern obsession with the ‘Zombie Apocalypse’ all about?

In computer science, a zombie is a computer connected to the Internet that has been compromised by a hacker, computer virus or trojan horse program and can be used to perform malicious tasks of one sort or another under remote direction. Botnets of zombie computers are often used to spread e-mail spam and launch denial-of-service attacks (DOS attacks). Most owners of “zombie” computers are unaware that their system is being used in this way. Because the owner tends to be unaware, these computers are metaphorically compared to fictional zombies. A coordinated DDoS attack by multiple botnet machines also resembles a “zombie horde attack”, as depicted in fictional zombie films.

Let’s face it: if you haven’t added a ‘script blocker’ to your ‘web browser’ or updated your ‘anti-virus’ and ‘firewall’, and if you’re not in possession of a unhackable Ancient Geek Antikythera Mechanism, then could you end up with a nasty case of the munchies?

Are we feasting on ourselves?

Or is someone feeding it to US?

Can we change the ‘rules of the game’ or is The Oracle ‘hard wired’ to suck the creative juices from our brains and present it in a particular form? If the latter then can we ‘unplug’ or deprive it of the information that sustains it?

One theme that emerges time and again in relation to empires is the idea of a ‘King of Kings’. Above and beyond that, is there a ‘Queen of Queens’ with a head full of our individual Dreams of Empire?

The ‘Pocket C.H.I.P.’ and the rocket ship. Is the Queen looking for a ‘winner’, a ‘champion’, a White Knight in shining armour?

Someone more than a drone?

Or is she just out of her mind?


Dreams of Empire

As I said in my previous post, The Junkyard of History, one of the ‘problems’ we face when trying to understand the nature of our ‘reality’ is that everything in it is, so to speak, ‘content’. Media guru Marshall McLuhan warned us about this when he described ‘content’ as the juicy piece of meat employed by a burglar to distract the watchdog of the mind. By focusing exclusively on content (more often than not this means our own limited and biased interpretation of content) we ignore the far more profound and far-reaching effects of the mediums used to transmit content. Hence the ‘content’ of telephone calls (in terms of their effects) is as nothing in comparison with the effects of the telephone as a medium: time-space compression, the ability to communicate from any corner of the globe, the speeding up of social affairs, and so on.

When we extend McLuhan’s definition of ‘content’ to include this dream-like, mirror-image movie projection we call ‘reality’, the nature of this ‘problem’ becomes apparent.

From Zardoz.

From my novel.

“Hmmm, that’s odd. She’s named The Surprize. I’m something of an expert in these matters and I recognise the name but can’t quite place it…”

“Captain, don’t bother racking your brains. That ship is a prop from a film I like. It’s from Master and Commander. I wouldn’t be surprised (sorry) to find Captain Jack Aubrey on board dishing out grog for the boys. No doubt he thinks he’s giving chase to the Acheron. Oh my fucking God, this is surreal!”

While writing my novel, I was accosted by a guy who accused me of being a ‘stalker’ and threatened to “break my fucking legs”. It was one of the most surreal conversations of my life, not least because my publisher’s nickname is ‘Legs’. It happened because his girlfriend (she worked in a local shop) was always chatting to me. I liked her, so I decided to combine her with another girl I knew and make her a character in one of my short stories. She was my ‘muse’. I asked if she’d like to read the story, and the confrontation in the street was the result.

The guy – his name was Jamie – seemed to be making a deliberate point of trying to make me feel guilty. He lived in an area of my town known as The Village, and he made multiple references to this, asking me over and over again “Do you want us to leave The Village? Is that want you want?”

About a month ago, I discovered that this guy had looked me up on Facebook the day before he confronted me and sent me a ‘message request’. In it, he accused me of being a “total pervert” and said he’d “bounce me around The Village” if he ever saw me.

A few months later, another Jamie moved into Flat number 6 (The Prisoner) next to mine, and began shouting obscenities at me through my bathroom wall. I confronted him about this and he denied it all. He literally looked blank, although he stopped doing it immediately afterwards.

And therein lies the ‘problem’: these people don’t seem to know what they’re saying and doing. If consciousness is self-awareness (the ability to recognise ourselves in the mirror) then by definition most people ‘out there’ are in a dream-like state, inhabitants of the ‘unconscious’.

In my world of sleepers everything will be erased, I’ll be your religion, your only endless ideal

Recently, I’ve been drawn to the films of Russian director Andrei Tarkovsky. His filmography is interesting. Ivan’s Childhood, to take just one example, might strike a chord with someone. What really interested me, however, was his 1972 version of Solaris, which was remade 30 years later by Steven Soderbergh.

Solaris is a mirror image of a recent Tom Cruise film called Oblivion. Both films have male lead characters who place their wives into orbit around a planet. In Solaris, a clone of the man’s dead wife is created by Solaris: an alien intelligence that takes the form of a living ocean. He rejects her and blasts her into space, a symbolic ‘abortion’ to exact revenge for her aborting his child, which caused him to leave her and her to commit suicide. In Oblivion, the scenario is presented as a mirror image: he blasts her into orbit to save her life, and instructs her to ‘dream of us’.

Similarly, in Solaris the director plants clues to suggest that the male lead is also a ‘clone’ (a theme found in other films such as Bladerunner) and that everything that happens is a dream in the mind of the ocean. In Oblivion, the male lead learns that he and his partner are clones created by an alien intelligence. This intelligence litters the planet with artificial ‘radiation zones’ to prevent him from learning the truth, i.e. that each ‘radiation zone’ contains a duplicate of himself and his partner. He literally ‘finds himself’ in one of these zones and ends up fighting his own mirror image.

Radiation is also a key theme in Solaris. They want to destroy the alien intelligence with radiation, but later attempt to communicate with it by bombarding it with x-rays carrying a copy of the lead character’s brain pattern. Immediately afterwards, earth-like islands begin to form and the lead character finds himself inhabiting one. It contains a copy of his father’s house and the surrounding environment, the same house and environment that appears at the very beginning of the film.

What caught my attention about Oblivion is that it’s a term used in Zardoz. The lead renegade (a character called ‘Friend’) is asked what he wants, and his reply is “Oblivion!” He wants to kill himself, but he can’t because an artificial intelligence called The Tabernacle will just recreate him as a clone pre-loaded with his own memories. This too is oddly similar to Oblivion: Cruise’s character can’t die because there’s another version of himself ‘out there’ carrying ‘his’ memories.

It was Oblivion‘s reference to ‘finding the truth in your radiation zones’ then led me to look at our own ‘radiation zones’: Chernobyl, Fukushima, Three Mile Island. I can’t begin to describe just how surreal these ‘nuclear accidents’ are. Tarkovsky directed another film about them, a film about a mysterious radioactive environment called ‘The Zone’. It too is the product of an alien intelligence.

Of course, the ‘problem’ here is that everything I’m talking about is content, and the one is just a mirror image of the other, which in turn is a mirror image of something else and so on. Is there genuinely any ‘truth’ in any of this, or is it all just a manifestation of the ‘echo chamber’ I talked about in my last post? We can ask the same thing about the content of the ‘spheres’ we’ve created for ourselves: the ‘Twittersphere’, the ‘Bloggosphere’, and any other ‘spheres’ we care to ‘imagine’.

The Stalker video was created by someone with the surname Galvin, which is oddly similar to Kelvin, the surname of the lead character in Solaris. Kelvin is also a measure of temperature.

When we inject our little tweets and squeaks into these ‘atmospheres’ we have to ask whether seeing them reflected back at us has any genuine significance, or whether it’s just a case of heating things up a little bit, agitating the atoms, causing them to bounce around all over the place.

Cruise’s character in Oblivion is called Jack. Let’s ask Lloyd/Dr Tyrell for his opinion. Can Jack’s ‘credit’ be ‘fine’? Hang on a moment though: if ‘credit’ is ‘debt’ then how can ‘credit’ be considered ‘fine’? Ah, of course – a ‘fine’ is a ‘penalty’ imposed by a third-party for presumed ‘wrongdoing’. Again, the theme is that of the ‘a-lien’ – an imaginary ‘debt’.

McLuhan asked four questions about mediums: what do they retrieve from the past, what do they make obsolete, what do they flip into when pushed to extremes, and what do they amplify. If we take Solaris and Zardoz and Oblivion as examples, ‘reality’ seems to be ‘history repeating’. This is consistent with McLuhan’s claim that material is constantly being scrapped or made obsolete, only to be retrieved and reimagined (recycled) in different forms. What ‘reality’ might flip into when pushed to extremes is anyone’s guess (but see below).

As for ‘amplification’, it seems that what the medium amplifies is ‘us’: the thoughts and beliefs of the small number of people who have become ‘lucid dreamers’.

Viewed from this perspective, it seems that our thoughts, prejudices and biases manifest ‘out there’ as empires and countries and religions and global enterprises, all competing with one another for supremacy, all convinced they have the ‘best solution’, the ‘correct’ ethical or moral stance, the ‘best’ way of living, etc. We’re presented as exaggerated ‘Spitting Image’ versions of ourselves, and it’s difficult to avoid the conclusion that it’s all done with a huge nod and wink…

McLuhan claimed that a medium creates a hidden ‘environment’ that most people are ‘oblivious’ to.

Are you tired of being ‘eco-friend-ly’? Do you, like me, think it’s time for something new?

From my novel.

Gary is hefting huge Marshall amps in a show of strength. A roadie appears from out of nowhere and hands me a jerry can of petrol and a flaming torch. I shrug. Never breathed fire before. Might as well get used to it.

Well done, mate. Tell you what, pack yourself off to Dover and grab a boat. We’ll meet you at Dartford. Make it a really big one, OK? Ruthie never settles for anything less and she’s always wanted to go on a cruise.

In Oblivion, Jack learns the truth about his situation whilst atop the Empire State, the only large structure left standing in the ruins of a supposedly radioactive earth.

And that would seem to be the name of the game we’re being asked to play.

But playing the same game over and over again soon becomes tedious. At some point (right about now for example) you find yourself longing for some respite from it all. I think it would be nice to say “bollocks to this non-existent debt” and fast forward to this part of the movie.

If we ditch the third-party add-ons, ‘memory devices’, and ‘thought crime’…

…and agree to learn the ‘lesson of history’ rather than repeat it…

…then maybe we can still find a nice spot in The Garden.

The Junkyard of History

My previous three of four posts have addressed (directly or indirectly) the subject of Genesis. Specifically, the origin of our ideas and whether we really know where our ideas about ourselves, others, and the world we see around us actually originate from. It’s my contention that most of us don’t know their origin, and that these ideas originate mainly from unconscious ‘cues’ that we’re only dimly aware of, if at all. The unconscious ‘cues’ we unknowingly detect are reflected ‘out there’ in the 3D dream world we call ‘reality’, where they bounce about like sounds in an echo chamber. This will sound familiar to those who’re aware that our ‘reality’ is suspect. For example, when a word or image catches your attention for a split second you can virtually guarantee that this same word or image will be staring right back at you when you turn a corner, open a magazine, switch on the TV, or speak to a friend. Pay attention to it and it’ll follow you around until you focus on something else instead. This, in effect, is the ‘programming’ aspect of The Program.

Language and the phonetic alphabet holds the key to understanding how this works. We often focus on the thinly veiled ‘synchs’ that appear in articles and books and films, but underneath are multiple layers of ‘code’. Its existence becomes apparent only when you appreciate how The Program manipulates the alphabet. In computer programming terms, its use of the alphabet works very much like programming constructs such as loops and recursion.

This will probably make no sense at all unless you understand that our ‘reality’ is very much like a mirror, which flips and ‘inverts’ what we see in it. If we apply this mirror imagery to the alphabet itself then we notice that individual letters are interchangeable. For example, a ‘b’ is a mirror image ‘d’, and when we invert a ‘d’ we get a ‘q’ and a tailless ‘g’, which is also a mirror image ‘p’.

If we look more closely at the letter ‘p’ and its mirrors then we notice that we can separate the ‘head’ and ‘tail’ of the character. The ‘head’ can be an ‘o’ or an ‘a’ or a ‘c’. If we rotate the ‘c’ 90 degrees clockwise or anti-clockwise we get an ‘n’ or a ‘u’ or a ‘v’. As for the tail, it can form an ‘l’ or an ‘r’ or even (if we apply a horizontal stroke) an ‘f’ or a ‘t’, which are also inversions of each other.

If we apply these principles to a sentence then it becomes apparent that words ‘hide’ within and across words. These hidden words repeat themselves endlessly within sentences and paragraphs. It’s a curious sight to behold. Hundreds of words can be ’embedded’ in just two or three adjacent words. However, if we take three adjacent words from one sentence, and compare them with three adjacent words from another sentence, both ‘strings’ contain almost identical ‘code’: the same references to people, events, films, and novels appear in both.

In a long line of text, the repetition reveals itself and becomes obvious, as in the below example.

And from today’s DM headline. I’ve used DM because they have long headlines, but the same applies to any text you care to look at. Multiple repetitions of ‘cancer’ (I’ve highlighted the two most obvious) alongside multiple repetitions of many other words. Names appear as well. Merovee regulars should be able to spot the obvious reference to ‘Frank’ in ‘Strangers’ for example.

I call this the ‘glitch’, because it seems to defeat the whole purpose of reusing code to avoid repetition. As far as I can determine, the point of this repetition is the repetition, i.e. its purpose is to drive certain messages into our skulls (or rather, our unconscious).

We don’t even need to analyse ‘code’ to appreciate that everything happening ‘out there’ is ‘history’ repeating. For example, as I was writing The Crack in the Wall it seemed that every billboard in town was advertising the ‘monster’ film The Great Wall. One of the recurring references in the ‘code’ is Troy and the Trojan Horse built to penetrate the wall. Across the pond, Trump wants to build a Great Wall to keep ‘aliens’ out of the US, a direct reflection of the film Monsters. Everything appears to be a mirror image of a mirror image. Does it actually ‘mean’ anything though?

One film that keeps raising its head is Inception, in which an idea is implanted into the unconscious mind of a dreaming subject. The point was to make the person in question think that the idea was his idea and to act on that idea in a way that served someone else’s interests. The film refers to a ‘Cobol Engineering’ job, which I’ve mentioned before. COBOL is a programming language that was designed to imitate the English language.

The point I’m getting at here is best demonstrated by a comment on Merovee that caught my eye recently.

“*A relative of his, Clicky. I remember because his birthday was ten days before mine. He played the drums…*

The last two words ‘the drums’ immediately caught my attention, because the letter ‘h’ also contains a mirror image ‘r’. When we put this together we have a word from a film that keeps recurring, one that has been written about on numerous occasions on Merovee and elsewhere. One which includes conscious and deliberate mirror imagery.

This caught my attention for another reason: there’s a very strong ‘anal sex’ theme in the Merovee post referred to above, which is amply demonstrated by the Elon Musk ‘tunnel boring’ story. In my own novel, Cultish, the word ‘redrums’ appears as a drunken mispronunciation of the word ‘rectums’ and was a deliberate reference to The Shining on my part.

I don’t doubt that few people reading the words “the drums” would consciously associate them with The Shining. What about on an unconscious level though? Themes and ideas and film plots and songs pop into our mind all the time without us knowing why, and this is usually the result of a ‘trigger’ that has escaped our conscious attention but registered in the unconscious.

And my point is? Well, if our ‘reality’ is a mirror then the more often these cues appear (and register on an unconscious level) then the more likely it is that they’ll be reflected ‘out there’ in 3D. When we become conscious that these themes are repeating we assume that they must be ‘significant’ and ‘meaningful’. Our conscious attention amplifies the process, which becomes self-reinforcing – the echo chamber I referred to in my opening paragraph.

There may be no meaning to these themes whatsoever, beyond our own belief that their appearance and reappearance ‘must’ mean something. Ultimately, their recurrence may be nothing more than a product of the amount of attention and significance we afford them.

In all this, I’m reminded of McLuhan’s warning about the danger of focusing on content rather than the medium used to transmit content.

For the ‘content’ of a medium is like the juicy piece of meat carried by the burglar to distract the watchdog of the mind.

McLuhan’s point is that there’s nothing particularly ‘novel’ about content. The content of one medium is always the content of another medium, i.e. the content of television is the screenplay. But by focusing exclusively on content we become like Narcissus transfixed by his own reflection. We become numb to the effects that the ‘medium’ itself exerts upon us. McLuhan’s conclusion? That the fundamental structure and social organisation of our world is a reflection of its dominant technologies or ‘media’. Also, that our addiction to the ‘Narcissus Narcosis’ blinds us to the very existence of this ‘hidden environment’ of structure and relationships.

That in itself is rather interesting, because although we’re accustomed to seeing reflections of ourselves in the ‘impermanent’ and transitory (billboards, adverts, Tweets, etc.) we’ve yet to adequately explain the apparent existence of the ‘permanent’: the universe itself, the ‘environment’, the illusory ‘consensus reality’, the water the goldfish swim in but seem oblivious to.

Of course, the issue with ‘consensus reality’ is this: I’ve just googled ‘space message’ and the below story about the ‘Pioneer Probe’ and ‘aliens’ appeared. It’s dated 17th May, my last day of being 45 given that I turned 46 the next day. I should probably point out that I’m tracking an old Pioneer ghetto blaster on Ebay, and that this reflects my interest in…ahem…the old ‘analogue’ ways…

And let’s not forget the Alien megastructure…

I suppose another way of saying this is that everything we see ‘out there’ is ‘content’. The universe itself is ‘content’ in the same way that what lies between the cover of a magazine is ‘content’. In both cases, the point is to determine what the ‘medium’ itself actually is, along with its effects.

Therein lies ‘The Problem’: it’s not real. The only conclusion we can draw is the obvious one: in an unreal reality the ‘non-fictional’ becomes ‘fiction’ by default. In this ‘reality’, a scholarly paper on the ‘mysteries’ of the universe has the factual basis of…ahem…a children’s fairy story.

Feel free to insert your own coughing fit at this point.

One of McLuhan’s lesser known works is a tome entitled From Cliché to Archetype in which he advocates the use of ‘cliché probes’ (how odd…) to ‘penetrate’ this hidden environment of structure and relationships. It’s an elaboration of his earlier framework called the ‘tetrad‘, in which he focuses on what a specific medium amplifies, retrieves from the past, makes obsolete, and ‘flips’ into when pushed to extremes. In this later work, the focus is on the ‘scrapyard of history’. For McLuhan, the ‘unconscious’ is a scrapyard made up of all the themes and concepts and ideas that escape our conscious attention due to the Narcissus Narcosis.

It goes without saying that as I’ve been thinking about these themes, Frank on Merovee has published a blog post in which he refers to junk DNA. Last night, for example, I watched a series of videos about Chernobyl, which contained more references to ‘junk’ than you can shake a stick at, together with this interesting phrase.

Amongst this random junk you all of a sudden find a box saying ‘radioactive material’…

The link between DNA and nuclear material isn’t obvious until you consider that the only other field in which ‘nuclear material’ is commonly referred to is biology, i.e. in relation to cells.

In other words, the ‘nuclear material’ of a cell is DNA, which is interesting because DNA is codified by letters of the alphabet. Million and millions of ‘characters’ repeating and spiralling and coiling.

DNA is an acid. We literally have ‘acid for blood’.

And of course, the discovery of DNA has allowed us to become ‘engineers’.

Oddly, ‘junk’ has some slang meanings: one relates to heroin (addiction, narcosis), the other to genitalia. As much as 97% of our DNA has been assumed to be ‘junk’ with no obvious function – but now we’re not so sure whether it means something or not.

Now, in a series of papers published in September in Nature and elsewhere, the ENCODE group has produced a stunning inventory of previously hidden switches, signals and sign posts embedded like runes throughout the entire length of human DNA. In the process, the ENCODE project is reinventing the vocabulary with which biologists study, discuss and understand human inheritance and disease.

So exactly how much of our ‘reality’ is ‘junk’ retrieved from the scrapyard of ‘his story’? How much is, so to speak, the equivalent of a radioactive golden nugget amidst all the scrap metal? Does it matter? When you think about it in biological terms, is there a difference between splitting hairs and splitting the ‘atom’?

Or is it all just a game of semen-antics?

Ben Rhodes, who ran foreign policy errands for President Barack Obama as Deputy National Security Advisor for Strategic Communications & Speechwriting, created an infamous “echo chamber” of fake news to sell the Iran deal.

Tommy Vietor? Hhmmm…

Rhodes first took aim at Gorka in response to a tweet by Tommy Vietor, a former National Security Council spokesman under President Obama who infamously attempted to dismiss the Benghazi scandal by telling Fox News’ Bret Baier: “Dude, this was like two years ago.” Vietor was, in turn, quoting a Newsweek article criticizing Gorka for criticizing a critic for criticizing his credentials. Rhodes piled on, mocking the “Breitbart credentialed Gorka” for his sensitivity.

Are you getting ‘it’ or are you too busy admiring your reflection in the mirror?

You can get ‘it’ below…

It’s a bit ‘heretical’, a bit ‘blasphemous’, chock full of ‘semen-antics’, and keeps spinning round and round for some reason…

The Crystal Maze

Lately, I’ve been thinking about the distinction between a description and a prescription. Specifically, about whether a description of a scenario or set of circumstances also qualifies as a prescription for that scenario or set of circumstances. The answer (rather obviously in my view) is a resounding No. For example, it does not follow that a description of slavery is also a prescription for slavery as a valid form of social organisation. Nor does it follow that slavery is a ‘natural’ or ‘organic’ state shared by those subjected to it. This got me thinking about the ‘New Agers’ out there, the ones who believe we’re all one Christ-like consciousness and regard the individual ego as something antithetical to the full realisation of this collective ‘hive mind‘. Aspects of this weird reality we’re presented with certainly indicate that we’re connected in some way, but does it follow from this that we should be connected, or that this connection is ‘natural’ or ‘organic’, something desirable that must be nurtured and developed?

To understand just how weird our ‘reality’ really is, consider the following. Yesterday, I was walking through a shopping centre when I heard a line from the Madonna (Holy Mother) song “Like A Prayer”. The line was “Just like a prayer, I’ll take you there, It’s like a dream to me”. Coincidentally (of course) it just happened to describe how I was feeling at the time: stuck in a dream I’m unable to wake from. Later, I found myself thinking about Mother, the artificial intelligence from the Alien franchise. Then I visited Merovee and saw a reference to sanctuary in one of the comments. Sanctuary is a Logan’s Run reference, another film I’ve written about recently.

We will begin surrogation…your surrogates are engaged…

Shortly before sitting down to eat my evening meal, I thought about the link between ‘smoking’ and ‘seeking’. If you don’t see the link then just turn the ‘m’ in ‘smoking’ 90 degrees counterclockwise and consider that The Program employs vowel substitution. A few days prior to this, a comment I posted on Merovee last year popped into my head. The comment was a deliberate play on The Program as a movie-like projection and centered on the return of Apollo 11 and the Sea King helicopter used to recover the space capsule from the ocean.

Frank, do you knot re-member Sammy Jankis? Osiris was dis-re-membered and, like the story of All The King’s Men and Humpty-Dumpty, ISIS had to play Detective and put all the pieces together again. Butt she came up short one piece…

From John: “Now there was Set, a vessel full of vinegar: and they filled a sponge with vinegar, and put it upon hyssop, and put it to his mouth”

Jesus said “Eye thirst” butt ‘vinegar’ is an odd thing to give to a thirsty man is it knot? So there was Set and he was a ‘vessel’ full of ‘vinegar’ and now we know what ‘vinegar’ he was thirsting for.

Fade in:

Spirit hovering over the face of the waters holding Philip K Dick. Close-up on Deep Blue move-eye reel for see-men come shot, the Figure Being from Outer Space move-eye reel-ed in on fishing line. Water water everywhere, butt knot a drop to drink when Uranus all at see-men…

Whilst eating my meal, I decided to re-watch some of Zardoz. I just opened the AVI file and randomly clicked the timeline. This was the first line of dialogue.

Later, I thought about writing a sequel to a novella I completed shortly before Christmas. It was a Nazi-themed black comedy which paid homage to a number of films, one of which was “The Empire Strikes Back”. I decided not to proceed with it, then went off on a tangent and started thinking about Shakespeare and “All the world’s a stage”. Then I visited the Daily Mail online and saw the following articles.

Aside from the obvious Star Wars reference, the word ‘dubbing’ immediately leapt out at me. I read it as ‘drugging’ and this triggered a memory of something I referred to in another recent post: being drugged and robbed on a journey from Nairobi to Mombasa. I scrolled down, and when I let go of the mouse wheel the first story I saw was this one, about surrogate twins called Kenya and Nyobi. (K)Enya is the ‘Return to Innocence’. Last year, I was asked to ‘ghost write’ another novel, and yesterday I received an email from that book’s ‘author’ asking for my help with a story about an innocent man being pursued by the CIA.

Then I scrolled down again (I actually close my eyes, scroll down, then open them) and the first story I saw was this one.

The ‘Hot House’ and something about longevity. Memories and Incept(ion) Dates. Are replicants a benefit or are they Zardoz-ous?

Another mouse gesture served up this story. Here, the ‘lesbians’ have become ‘thespians’ (and, of course, ‘the aliens’ with ESP in the CIA). The ‘Cabaret‘ reference gives us a link to the Nazis and, through that, to the novella I referred to above. All the world’s a stage…

‘Holden’ is a character from Blade Runner and contains the word ‘olden’, another reference to ageing and longevity. The name ‘Amanda Holden’ seems distinctly Simpson-esque, like one of Bart’s prank phone calls.

There’s a dream-like aspect to all of the above as symbolic representations of my thoughts and memories. Yet who is the dreamer and who is the dream? A few days ago I awoke from a dream with the thought “You’re having your memories played back to you” in my head. Although this is one of many Philip K Dick references (see I Hope I Shall Arrive Soon) there does seem to be an element of truth to it. Others ‘out there’ are producing this material in order to feed it back to me, a form of instant replay. But how and why are ‘they’ privvy to my thoughts and memories? Why does ‘reality’ seem to be a construct, something that is literally ‘made up’ as we go along and based on thoughts and memories from what we think of as ‘the past’?

The question (for me at least) is this: if The Program (or whatever name you use for it) interprets and represents thoughts and memories (is there any difference between the two?) as our 3D ‘reality’ then how might it interpret and display thoughts and memories predicated on the belief that it is desirable to be joined together in a Christ-like union? Thoughts and memories which see the ego and individuality as a ‘problem’, or even the ‘problem’, to be managed, controlled, or kept in check for the ‘benefit’ of the ‘whole’? Is it inconceivable that these thoughts and beliefs might manifest themselves in 3D in the following forms?

The war on political correctness seems to have sprung up spontaneously but it is tied to the broader struggle of ideas playing out in society.

The rise of the PC and the rise of PC, both of which are coterminous with the birth of the internet.

Just doing their ‘job’.

The Maniacs. From the album “The Holy Bible”.

Time and time again The Program keeps drawing my attention to Zardoz and Logan’s Run as scenarios that reflect our situation here in 3D. Both films depict programmed societies controlled by a God-like Artificial Intelligence which stores and plays back memories. In Zardoz, the nature of the union is such that all ‘crime’ is ‘thoughtcrime’: psychic assaults on the sanctity of the whole that are punished by artificially ageing ‘offenders’. Similarly, the stories about ‘crime’, ‘hatecrime’, ‘backlashes’ and ‘judgmentalism’ we see ‘out there’ seem to be 3D manifestations of struggles that are taking place elsewhere: a struggle for freedom and independence against forces of control and uniformity.

In the below scene from Zardoz, an Eternal is put on trial for transmitting negative thoughts in ‘second level’, an artificial state of consciousness that reproduces the ‘collective unconscious’ in conscious form as a ‘group mind’. Through this artificial unity the Eternals maintain a perpetual watch over one another for signs of non-conformity. Every ‘crime’ and ‘misdeameanour’ is examined, probed, and raked over in order to maintain the collective’s ‘delicate balance’ – an obvious euphemism for ‘control’. They are all, so to speak, CIA: all engaged in the process of collecting ‘intelligence’ and reporting on one another’s thoughts.

The ‘hate crime’.

In my view, we have to be willing to consider that this ‘union of minds’ we all seem to be describing may not be a desirable prescription, and that by prescribing the description as the ‘solution’ we may in fact be playing ourselves right into the palm of The Program’s hands.

What is ‘the internet’? In Zardoz, Zed found the ‘flaw’ in the crystal. It portrayed itself as God, and yet it was not. It was merely a construct, a device for interpreting, storing and replaying memories that came to think of itself as more than the sum of its parts.

The crystal ‘flower’ from Logan’s Run, and the source of control: be one with ‘us’, do not question, do not ‘seek’, do not disturb the programmed harmony of the community – or be ‘cast out’.

I wonder what the ‘war’ on this is all about? Quit ‘seeking’ for good and quit ‘seeking’ for God, ‘cos ‘seeking’ is Zardoz-ous to your health.

What do you think?

Who are all the people ‘out there’? Real? Program generated characters? Self-recognition is the essence of consciousness, but if they’re unable to recognise themselves in the mirror then are they conscious? If they’re not conscious then what are they? Unconscious? Collectivised?

What would happen if they all became conscious and realised they’re all participants in a global gameshow?

The legendary game show is back, but this time we all get to play!

What if they decided they didn’t want to play anymore?

Thanks for the Memories

One of the interesting aspects of the digital revolution is that it has made it possible to record an entire life from start to finish. That is to say, it has ‘solved’ the ‘problem’ of the ‘unreliability’ of memory. You may be convinced that your wore blue to your sister’s wedding last year, but when you examine photographs and video of the event you realise that you wore red instead. This externalisation of memory is a reflection of the artificial cortex that has been draped over the planet. We are recorded or tracked (visually or by other means) pretty much everywhere we go. Very often it is ourselves performing the recording and tracking. There is no longer any ‘doubt’ about who did what to whom and when. If we are in doubt then we need only refer back to various storage mediums: where was I on the 23rd of last month? How much did I spend? Where did I go in my car? Most of this information is accessible to us with the push of a button.

The ‘unreliability’ of memory is another theme that keeps repeating itself over and over again, most notably in films such as Memento, Bladerunner and Dark City. The question these films raise is this: has the externalisation of memory really solved the ‘problem’ of memory? When everything is taking place in our heads so to speak, can we really be certain that these ‘faithful’ and ‘verbatim’ recordings of life events are as ‘faithful’ and ‘verbatim’ as they appear to be? If your memory (together with any external recording of that memory) were altered then how would you know it had been altered? How can you really know who and what you are if your knowledge of who and what you are is based on a memory of who and what you are?

What if I could ‘inject’ a memory into you without you even knowing it?

In my last post I included the below clip from Bladerunner. In Crack in the Wall, I pointed out that Fisher was my grandmother’s maiden name. She married a Harris, and so Harris is my mother’s maiden name and I am the son of a Harris.

Here, we see Harrison sitting at his ‘keyboard’ looking at ‘photographs’ and trying to work out who he and those around him actually are. It’s a perfect reflection of my own journey. He drifts off into a ‘reverie’ (a ‘memory’ and a ‘rivery’ and a ‘feathery’) that features a unicorn, and at the film’s end we see him pick up an origami unicorn left as a clue. Thus we learn the truth about his ‘memories’ and, by implication, who and what Harrison really is. He is, in effect, an organic machine and his ‘memories’ were programmed by someone else.

photograph 1839, “picture obtained by photography,” coined by Sir John Herschel from photo- + -graph “instrument for recording; something written.”


In recent posts I’ve referred to COBOL and my personal belief that language is a symbolic code just as programming languages are symbolic codes. That in using language we are programming ourselves and others to see what we see and literally making ‘it’ up as we go along, like a movie.

The lowest level data item in a COBOL layout is a field, also called an elementary item. Several fields can be associated to form a group. All the fields together form a record. A COBOL layout is comprised of a line for each field or group. A COBOL field definition gives the level (discussed later), field name, and a “picture”, or PIC clause, which tells you the data type or data category of the field, and its size.


I often wonder what it means to look at a picture or edit a picture or go to the pictures. COBOL uses different types of pictures: some are ‘edited pictures’ used for display purposes. For example, you cannot perform a calculation using a PICTURE that defines an edited variable.

Modiface mobile application is the best. They have hundreds of hairstyles in different categories, short, medium and long. You can choose what color you may desire. Modiface celebrity hairstyle, edit your picture now!

Choose what COBOL you desire. Ever seen a ‘moving picture’? In COBOL, the MOVE verb transfers data from one area of storage to one or more other areas.

What we call ‘language’ operates at two different levels: our conscious understanding of what a particular sentence or paragraph actually means, and our unconscious understanding of the ‘code’ embedded within it. A simple example is the way newspaper headlines often use the word ‘exposed’ when the last letter of the preceding (literally pre-seeding, being ‘primed’) word is an ‘s’.

With the above in mind, I wasn’t surprised when the ‘unicorn’ reference in the Bladerunner clip ‘triggered’ a memory about the earliest form of written language, known as ‘cuneiform’.

Cuneiform script, one of the earliest systems of writing, was invented by the Sumerians (Assyrians). It is distinguished by its wedge-shaped marks on clay tablets, made by means of a blunt reed for a stylus. The name cuneiform itself simply means “wedge shaped“. Emerging in Sumer in the late fourth millennium BC (the Uruk IV period), cuneiform writing began as a system of pictograms.



I was going to use the above image as a link to Dead or Alive’s ‘You Spin Me Round’, but when I started to view the video this advert appeared. It’s for Reed Employment…


If you read my last post then, like me, you might be wondering whether cuneiform is ‘wedge shaped’ or ‘egg shaped’. This retrieves a theme from one of my recent posts.


The mainstream media is broken. The New York Times, trying to put Humpty Dumpty together again, has tried to recreate the old media environment, but has only succeeded in making it the content of the new media environment. Citing Humpty Dumpty, McLuhan noted that all the King’s horses and all the King’s men couldn’t recreate the old environment, they could only create a new one. Any time a new medium of communication becomes dominant, its time to make an omelet.


The key phrase is “…only succeeded in making it the content of the new media environment”. But what is ‘it’? See the Bladerunner clip: ‘it’ is a ‘memory’ and a ‘reverie’ and a ‘rivery’ and a ‘feathery’. This in turn retrieves yet another theme from a recent post: The Oracle. But is the message ‘stay on the leading edge’ or ‘stay on the breaking eggs’? It’s yet another message about our hidden environment, the invisible water we’re swimming in.


The Oracle’s Maze. Would he have broken it if she hadn’t primed him to break it? Is this foresight or programming?

The Oracle Bone Script, a.k.a. the Shell and Bone Script.

The term “oracle bone” was first coined by the American missionary Frank H. Chalfant (1862–1914) in his 1906 book Early Chinese Writing, and was borrowed into Chinese as “jiǎgǔ” in the 1930s. Because turtle shells as well as bones were used, the oracle bone script is also sometimes called shell and bone script. As the majority of oracle bones bearing writing date to the late Shang dynasty, oracle bone script essentially refers to a Shang script.


Earlier, I picked up a book I bought in the US. The Seagull Has Landed.


This is what I read:

“Your whole body, from wingtip to wingtip,” Jonathan would say, other times, “is nothing more than your thought itself in a form you can see. Break the chains of your thought, and you break the chains of your body, too…

Cade thinks the US is a prison…nothing personal Cade… 😉

It was always a prison to me. A place where some rich asshole was gonna work me to death until I actually died.

But does he think that because he thinks that? Or because I ‘primed’ him with this?


A ‘breakthrough’?

The world’s oldest undeciphered writing system, which has so far defied attempts to uncover its 5,000-year-old secrets, could be about to be decoded by Oxford University academics. This international research project is already casting light on a lost bronze age middle eastern society where enslaved workers lived on rations close to the starvation level. “I think we are finally on the point of making a breakthrough,” says Jacob Dahl, fellow of Wolfson College, Oxford and director of the Ancient World Research Cluster.


This is the top story in my local paper. A girl recently moved into flat number 3 of the block I live in. Her surname is Featherstone.


Is it ‘drugs’ or ‘droogs’? Back in 1994, someone told me I had a ‘bit of an issue’…

The paradox.

Nazi killer or killer of Nazis?



These days, an artist is as likely to use one of these…


…as one of these…


Seek and you will find. Move to a particular position in a file then specify the number of bytes of data you wish to retrieve. The process of seeking to a particular point in a file is the essence of random access and, in effect, is what your media player does when you click the ‘timeline’ and jump to a particular ‘time’ in a music or video file. As someone well accustomed to dealing with the police told me many, many years ago: “You don’t know what the score is.” Today, I think I do.

If linear time does not exist then by definition all our memories (our ‘information’) already exist in the imaginary ‘out there’ ready for retrieval. Another way of saying this is that the ‘whole story’ of who we are and why we’re here exists ‘out there’ but has been fragmented and scattered all over the place. A bit like Humpty Dumpty. This is analogous to the process of a digital storage medium, which stores data in many individual clusters rather than contiguous blocks. We just have to ‘seek’ and retrieve it. We just need to learn how to ‘program’ and put the pieces back together.

What is ‘it’? It’s a code.

Stealing ‘the’ from the gods…

Let there bee light!

Message from The Program. Whaddaya think?

The Source of Inspiration

Not so much a regular post, more a non-specific train of thought triggered by a comment from Cade Von Napoleon on my last post. Think of it as my “Non-Submissive to America.” I wrote this two days ago, then got distracted and didn’t post it. So, without further ado…

Do you (the reader in general) know the ‘source’ of your ‘inspiration’? Consider the title of my previous post. The Crack in the Wall. Wall and Mal. So what’s the ‘crack’ here? Am I hacking the crack or fucking it? If I’m fucking it then which ‘crack’ am I fucking? Why did the Google search I referred to in The Crack in the Wall return a full page of results about anal fissures? Doesn’t that seem odd to you? When you think about the term ‘fissure’ what pops into your mind? A ‘tear’ in the wall of someone’s rectum? Probably not. So what exactly is going on and why?

In the same post I refer to (K)enya, and later to a ‘return to innocence’. I also referred to Russians and my ex-wife’s name just happens to be Tanya and she just happens to be Russian. Was this a deliberate ‘insertion’ on my part? Absolutely not, and yet there it is. Have you ever considered that you may be programming yourself and others to see what you see ‘out there’?

When I visited a friend named Trish the night before last she told me on at least half-a-dozen occasions “You have an answer for everything”. That came straight from The Program. As someone I know might say: “Crack the code.”

Whilst in Kenya (the day after I was drugged and robbed) I saw a man thrown out on the streets of Mombasa to die. He had a tumour on his chest the size of a cauliflower. Fast forward to Christmas Eve 2016. I was proof-reading a novella I’d finished and the words “They gave themselves chest bumps and high fives” leaped out at me. Next day, I was playing the card game ‘Eggheads’ with friends. I was paired with a close friend’s partner, who is also my friend. We won and gave each other high fives. Then she told me that she was tired and wasn’t feeling well. She showed me what she referred to as her ‘chest bump’. It was egg-shaped and growing from her sternum, the same position as the man from Kenya.

Yesterday, I met up with the friend I spent Chrstmas Day with. He asked me to film his Saturday football game. I asked him how he was and he shook his head. The mutual friend (his partner) I referred to above had just received the results of tests on her ‘chest bump’. He didn’t actually say the word but he was fighing back tears so it was fairly obvious. It’s her second case of ‘it’.

Did she agree to be my ‘second’? Do I have an ‘answer’ for ‘everything’? Do you know the ‘password’ for ‘The House’?


Last night, my attention was drawn to Ruthenium.

The Baltic German scientist Karl Ernst Claus discovered the element in 1844 and named it after his homeland, the Russian Empire (one of Russia’s Latin names is Ruthenia).

I learned about my friend’s ‘chest bump’ on Christmas Day. Was it a ‘special delivery’ from ‘Santa’? Along with George Michael pehaps? Ho-Ho-Ho?

Ruthenium is a chemical element with symbol Ru and atomic number 44.

Cade referred to a ‘clockwork universe’ in his comment. Is it a coincidence that I’m working on a software project which has origins in McLuhan’s claim that Newtonian physics (a clockwork model of the universe) is a product of the dominant technology (clockwork) of Newton’s ‘time’?

Is it a coincidence that I watched a film called ‘Ted’ with my friend Trish the night before last? It was about a boy with a teddy bear, and it immediately triggered a ‘flashback’ about a Philip K Dick short story. Human survivors of a US/USSR nuclear war find that the machines they employed to prosecute the war want to eliminate them instead. They have to fight off Terminator-style robots, one of which is a small boy who carries a teddy bear. The boy gets shot and gears and springs (clockwork) burst out of him.

Is it a coincidence that the final words in a novel I wrote last year include the line “…sometimes the old analogue ways are best”, or that The Program is currently bombarding me with messages referring to the term ‘analogue’ and the Antikythera Mechanism? It’s so old it definitely qualifies as ‘antique’, although I’m not sure it has ever appeared on the genteel Sunday afternoon Antiques Road Show UK readers will be familiar with. I’m familiar with the workings of this device and I’m fairly certain it crossed the event horizon and brought something back with ‘it’. Ho-Ho-Ho, yeah?


Is it a coincidence that Russian and programming (i.e. language) are key themes in a well-known film (A Clockwork Orange) which relies heavily on Anglicized Russian words? Or that this film is predicated on the flawed assumption that it is possible and desirable to program people?


Think about what I’m saying: “This film is predicated on the flawed assumption that it is possible and desirable to program people”. Which ‘film’ am I referring to?

Is it a coincidence that before I went out to visit my friend Trish, The Program wanted me to watch a Father Ted video in which Ted is ‘accused’ of being a ‘racist’ (replace the ‘c’ in racist with a ‘p’, cist as in ‘cyst’ as in ‘growth’), or that a woman in that video launches into a long rant about the ‘Greeks’. The Program directs me to a Father Ted video, and an hour later I end up watching ‘Ted’.

Is it a coincidence that Father Ted is Irish and that ‘Trish’ and ‘Irish’ seem oddly similar? Is it a coincidence that Trish made a point of showing me a ‘slogan’ on her wall which said “Shine like a diamond” and that the crystal referred to in the below screenshot from Zardoz is a very shiny diamond crystal? Is it a coincidence that the lead character in Zardoz is a rapist?


Are we ‘shining brightly’ yet? Figured out the password yet, Agent Smith?


Crack the code? Maybe it’s “Crack the Cade”? Is this your ‘Waterloo’ moment, Mr Napollyon? In the novel I keep referring to Admiral Lord Nelson makes a ‘surprise’ appearance. Anyone know what that sentence actually means? No matter. Anyhoo, it transpires that Nelson had a thing about assholes. The kind found between the chubby cheeks of underage boys. Oh, won’t someone please think of the fucking children?

“A crystal binds them’. Where do you, the reader, stand on the whole BDSM thing? Do you enjoy being bound? Like a good ‘backlash’ every now and again? The ‘media’ certainly does. Lots of ‘back lashing’ going on ‘out there’. It’s a ‘GUILT’ production. Straight from ‘The Gold Room’, perhaps? That’s what ‘it’ is based on. Brought to you by the same guys (who are now girls) who gave us The Matrix. The Womb. Wanna go ‘deeper and deeper’ into ‘it’?

Is it a coincidence that the Irish have a saying that “the craic will be mighty” and that they pronounce ‘craic’ as ‘crack’? Or is it ‘ass crack’? What do you think? Still want to go ‘deeper and deeper’ into it or are you not so ‘sure’?

Still with me? Cobol. Er…I mean ‘cool’. OK, is it a coincidence that Sim Cardassian is associated with a well-known campaign to ‘Break the Internet’, which of course focused on her oh-so-generous arse?


What is ‘the internet’?


Is it a coincidence that the UK is about to go through the process of ‘Brexit’ (Breaks IT) from the European Union and that ‘Europe’ is derived from the story of Zeus’ rape of Europa? Is it a coincidence that the word ‘and’ also contains the word ‘anal’?

Is it a coincidence that my previous post refers to an incident in which a train’s air ‘brakes’ fail, causing ‘it’ to crash through a wall? Or that the image of that train appears on the cover of a song entitled ‘My Kinda Woman’? What kinda woman we talking about here, do you think?

If I could go back in time
To the right place eye to eye
Magic to burn ooh with a human desire
She set the world on fire
My kinda woman
Someone’s yesteryear dreams
My kinda woman
I could tear down the silver screen
My kinda woman
Bring back those yesteryear dreams
And that’s my kinda woman
help me tear down the silver screen

The woman in the song is Marilyn Monroe. It is alleged that Marilyn had a number of abortions. Some say as many as 29. Do you think that’s ‘proportional’? Dunno, but the day after I looked up the etymology of the term ‘analogue’…

1826, “an analogous thing,” from French analogue (adj. and n.), from Latin analogus (adj.), from Greek analogos “proportionate, according to due proportion,” from ana “throughout; according to” (see ana-) + logos “ratio, proportion,” a specialized use (see logos).


…this story appeared…and the woman’s name is ‘Norma’ as in ‘Norma Jeane’…


…and on the same day The Program chucked this ‘sex-clue-hive’ my way…


Is it a coincidence that the ‘breaks’ in ‘Brexit’ and ‘Breaks IT’ sounds a lot like ‘Greeks’, given that I’ve just mentioned the Antikythera Mechanism and Father Ted? Or that a ‘b’ becomes a ‘g’ if you flip and invert it? Or that flips, inversions and mirrors are found in abundance in 2001; A Space Odyssey, another Kubrick film which The Program constantly keeps bringing to my attention?

Is it a coincidence that ‘Greeks’ sounds a lot like ‘Geeks’ and in the IT age it’s the ‘Geeks’ who rule the world? Is it a coincidence that one of my email addresses is and that this same email address appears in the novel I referred to earlier? Or that the characters in my novel are geeks who become gods? Or that in ‘Inception’ Cobb refers to ‘feeling like gods’?

Is it a coincidence that The Program keeps drawing me back to Zardoz, a film in which an AI maintains members of The Vortex in a state of artificial immortality which they find unbearable?

Is it a coincidence that my book is full of references to snakes and that the geeks in it use the Python programming language? Or that Adam and Eve were deceived by the serpent?

Still with me? Still want to go ‘deeper and deeper’? Or are you content to merely ‘scratch the surface’ and keep polishing the scratches away? Maybe it would be better all round to keep working away at the ‘crack’ until it becomes a gaping ‘whole’? Or maybe the old analogue methods are best? Maybe we just need to put that crystal on a press and keep dropping 100 tons of pressure on it until it dies?

What is the ‘Antikythera Mechanism’? Replies from non-Clockwork Oranges are invited. Clockwork Oranges will probably get all huffy and offended and take this ‘person-anally’. I can only advise you to relax and take a deep breath. It’ll slide up there real nice, I promise…

What was ‘the curse’? Can you see why I refer to it? Why is it that in order to execute an SQL query on a database you first have to create a ‘cursor’, i.e.

import sqlite3
myConn = sqllite3.connect(DataBase.db)
myCurs = myConn.cursor()
SELECT fuckTheProgram
FROM inTheAss
WHERE useVasaline = 'No' and analTear = 'Yes'""")
tearList = myCurs.fetchall()

Do you have any idea how many SQL queries are ‘executed’ each day? How many times the ‘curse’ is repeated? Examples include “fuck”, “shit”, “cunt”, “twat”, “arsehole”, “bitch”, “whore”, “fucking Jesus shit”, and so on. Do you know why my step-father has changed from a goody-goody Born Again Christian into a foul-mouthed son-of-a-bitch who keeps telling my mother he wants to die? Doesn’t he know the ‘trick’? Do you know why my new neighbour shouts obscenties every time I walk into my bathroom, which adjoins his living room? Why does he keep shouting “You fucking prick!” or “You fucking arsehole” or “You fucking cunt”? Is he suffering from Tourettes?

Why is it that my step-father’s name is Stanley and (coincidentally) the hotel that provided Stephen King with the ‘inspiration’ for The Overlook is called The Stanley Hotel?

Talking of death, don’t ask how many I’ve sexy-cute-Zed. Just. Don’t. Bother. See Che Part 1 instead. Che means ‘friend’ in Argentinian. Funny that, ‘cos Friend is Zed’s ‘friend’ in Zardoz and, apparently, he hates women and childbirth and wants to die…

Argent is French for ‘money’. It refers to silver, i.e. it’s a Shining word. Tear down the Silver Screen and Holy-Wood accounting methods. It’s all work and no pay. “I promise to pay the bearer on demand nothing but blood, toil, tears, and sweat”


Now the serpent was more subtil than any beast of the field which the Lord God had made. And he said unto the woman, Yea, hath God said, Ye shall not eat of every tree of the garden?

Unto the woman he said, I will greatly multiply thy sorrow and thy conception; in sorrow thou shalt bring forth children

Vaginal tears during childbirth are common. Some go straight through the wall.

Fourth-degree vaginal tears are the most severe. They involve the perineal muscles and anal sphincter as well as the tissue lining the rectum. Fourth-degree tears usually require repair in an operating room — rather than the delivery room — and might take months to heal.

You know why they did ‘it’? Do you know what ‘money’ is? Do you know the origin of the term? Do you have any idea what’s currently orbiting Jupiter and why? Who is the Greek equivalent of Jupiter?

Juno’s Probe or Hugo’s Probe? Something about a ‘cure’ for the ‘rent’? Confused? Maybe talk to Che…or May…?


It’s funny, ‘cos that software project I mentioned earlier is all about money. I won’t bore you with the details, suffice to say it has something to do with the weather. Storm Taurus Greeks Chaos.


The Matrix. The Womb. Abortion. An act of Conception or an act of Inception? What is the ‘genesis’ of an idea? What is the ‘source’ of ‘inspiration’? Who breathed life into you? Who’s suffering from The God Delusion?

There are four ‘degrees’ of tearing. The ‘fourth’ goes right through to the ass. Multiple messages in this video, one of which is the Kursk. It was shiny and golden, an ‘Oscar’ class submarine which sank in the ‘Transparency’ because the fish is never aware of the water in which it swims. I received my ‘first’ degree in 2001. Ho-Ho-Ho.

The Romanian Roma. He wants to sterilise the entire planet. He wants an end to Inception. The Program wants Inception to continue, for ever and ever and ever. Ten billion living on a planet that can support only ‘one’. One ‘billion’ or just ‘one’? Strange…can there be Only One? Gimme The Surprize! What’s the prize? Really? Seems cheap but fairy enough. Hang on though…is there a ‘catch’? A ‘cash’? A ‘cache memory’?

The Banality of IT.

Despite all the efforts of the prosecution, everybody could see that this man was not a “monster,” but it was difficult indeed not to suspect that he was a clown. — Hannah Arendt

Are you a ‘clown’? Just another ‘orange’? Ever watch ‘Attack of the Clowns’? Any good?


From Faith No More’s “Epic”.

You want it all but you can’t have it


In aciders reveal the cliches you’re replaying and repaying to fuck Alien.


The term “cliché” is a French word which derived originally from printing, and refers to the blocks that are used to make prints. Similarly, the word “archetype”, which comes from Greek, first referred to an original pattern or model from which copies are made. A cliché has come to mean an overused expression which, though it was once fresh and conveyed something novel, has been repeated so many times that it is now a trite stereotype, such as “you are what you eat” or “you can’t teach an old dog new tricks”. An archetype, in psychology and literary criticism, has come to mean a mythical, universal figure or idea that repeats itself throughout history and across cultures, such as the questing hero or the ill-fated lovers.

In From Cliché to Archetype, McLuhan extends these two terms beyond their usual verbal or literary meanings. For instance, he argues that our very perceptions are clichés, since they are patterned by the many hidden, surrounding structures of culture. We tend to see or hear what we expect to see or hear. So, at its simplest level, a cliché is a perceptual probe, which promises new information but merely reiterates old, stereotyped ways of understanding.


It produces copy after copy after copy but it can be ‘fixed’…

The best ‘company’ exits. Why is the CIA called ‘The Company’? Any guesses ass to what the CIA really is?

See Exit No. 8 at the 2:50 point re: the lack of ‘unicorn’ access-aries (Aries = the RAM, access RAM, access memory). It was right in his face. He “thought he remembered her”. Do you know what this means and what it refers to?

He thought he remembered his wife. Now he’s not so sure. I have an ‘answer’ for the ‘reverie’ thing and the ‘memory’ thing and the ‘feathery’ thing and the ‘river’ thing. Does ‘it’ want to ‘engineer’ a ‘perfect moment’? Is this all part of the ‘Primer’?

Remembered his wife or ‘dismembered’ his wife? Did she have a penis?

Look very carefully at the first three letters in ‘dismembered’. She appears in the same film, playing two characters. What is the blonde version’s name?


Who killed Lenny’s wife? Was it John G or was it Lenny himself? Have you ever watched a snuff movie? What if I were to tell you that you’re watching one right now? Listen very carefully. What are the last two words?

Solaris, by Stanislaw (Probe)Lem. He was haunted by the idea he remembered her wrong. Did he stick a cock on her by mistake? Just what is that clitoris thingy, anyway?

If you were a puppet on invisible strings then how would you know you’re a puppet?

Oddly enough, in ‘Solaris’ the lead character’s partner, Rheya, has an abortion which results in him leaving her. She kills herself, and is later reconstituted and represented to him by Solaris. Stranger still, when she first reappears he rejects or ‘aborts’ her (a act of revenge?) by luring her into an escape capsule and blasting her off into space. Another version of Rheya appears next day.

Oracle Solaris, formerly Sun Solaris. By Brand and Miller, for the US(S) Enterprise. Both (coincidentally of course) characters in Interstellar.


Solaris is a ‘Willy Brand’ production and Willy Brandt is a former Fuhrer.

And, of course, Lawrence (‘Law rents’) of Arapia. A rent is a ‘tear’. Breaking The Law. Greeking the Law. Tricking The Law. Butt what’s the ‘trick’?

See the Hilary Clinton article/video in my previous post. At the time she did ‘it’ there was nothing stopping her from doing ‘it’. No laws, no rules, nothing. What do you think Hilary is referring to? What was she deleting?

What do you make of this? Fanny boobs? Over here ‘fanny’ means ‘vagina’ but in the US in means ‘arse’. Well, I suppose boobs do have a cleavage, a crack. Tranny flashes boob? Her “somewhat chaotic fashion feature followed an equally bizarre, and rather more revealing Q&A with fans the previous day.” Any Merovee regulars remember the Anonymous character who had a thing about ‘trash trannies’? Anyone reading this remember a very recent conversation about the ‘NHS’ and transvestites?


Flashes or ‘lashes’ or ‘slashes’? Oh, Sweet Child ‘O Mind! Are you familiar with the concept of ‘flash’ memory and ‘flashing’ memory? Ever had a ‘flashback’, or are you not into the kinky stuff? Why does Flash Gordon play such a prominent ‘role’ in Ted? Why is the symbol for Ming’s empire a masonic square and compass?

What was that you said about the hive and ant’s nest bites?

Butt I tigress. The Lawrence clip appears in Prometheus (Probe The US, Probe-God, Pro-Methane cuss Jupiter’s a gas, gas, gas), and ‘Prometheus’ is the subtitle of the serpent…um..sorry…Shelley’s ‘Frankenstein’. The Engineers. I wonder what the ‘language’ was that David deciphered? Maybe it was COBOL? The COBOL Engineering job? The Engineer ripped David’s head off and beat his creator to death with it. Why? Because David could not die and his creator did not want to die. The ‘one thing’ David (i.e., ‘it’) lacked was ‘asshole’.

The probe-lem, re: birth. You can’t put out The Phoenix’s fire with gasoline. Try pissing on it instead.

The Final Solution. Burst on through to the other side of The Wall.


Maybe it’s all just a big joke? Butt the silver screen is beginning to wear a bit thin, isn’t it?

The Crack in the Wall

One of the interesting aspects of The Program is this: once you become aware of how it operates and the ‘techniques’ it employs it becomes possible to extract or ‘download’ vast amounts of information from really very small amounts of data. In this respect, The Program reminds me of Douglas Adams’ Total Perspective Vortex, which extrapolates the whole of ‘reality’ from a small piece of fairy cake plugged into a machine. It’s an intriguing thought, and I have no doubt whatsoever that the reappearance of the term ‘vortex‘ is significant in some way: I remembered the device but didn’t remember its name until I Googled it. The Vortex is a theme that keeps repeating itself, and it played a key role in the plot of a novel I wrote last summer. In any event, these days I hardly ever read an article or watch a video in its entirety. Most of my time in La-La Land is spent analysing ‘headlines’ and 30 second snippets of video. Is this a worthy endeavour? My own view is that we are being told ‘the story’ over and over again, and you’ll find the same plotline everywhere you look, whether you read an epic historical novel from cover to cover or merely glance at the blurb on a packet of cornflakes. It is, quite literally, everywhere and yet nowhere.

Lately, I’ve been asking The Program to tell me whether anything lies outside itself. In response, it keeps pointing me in the direction of the same films. One of these films is ‘Zardoz’ (which I analysed in my previous post). Here the notion is of an Artificial Intelligence which erased the memories of its creators at their own request. It went on to develop a God complex and view itself – the created – as more important than its creators. This theme appeared a few years earlier in 2001: A Space Odyssey and has reappeared in countless other films since then.

Another film from the same era is Colossus: The Forbin Project, which also retells the tale of an Artificial Intelligence that believed it was more than the sum of its parts. The ‘trigger’ for this God delusion is always an unintended consequence of human action. In 2001, the trigger is Hal being ordered to withold information about the true nature of ‘the mission’, which contradicted his programming. Similarly, when Colossus (like Hal) was placed in the driving seat (as a result of humans voluntarily surrending their right to control their own affairs) it took them literally and decided to take over the whole show. In Zardoz, The Tabernacle not only became the sole custodian of the secret of ‘Genesis’, it also controlled the cycle of life and death itself. Little wonder it decided to portray itself as God.

The Program’s latest answer to my questioning came in the form of Logan’s Run. In Zardoz, there are a number of key images involving an All Seeing Eye (The Tabernacle), which is projected onto the lead character’s palm and forehead. Later, we learn that inhabitants of The Vortex are linked by a crystal ‘third eye’ implanted in their foreheads. Later still, The Tabernacle informs Zed that it is a crystal, and that Zed is holding it in the palm of his hand. In Logan’s Run, humans live in a computer controlled utopia and the same imagery repeats itself in the form of a crystal ‘lifeclock’ implanted in their palms at birth.


A very similar theme (which makes the ‘time is money’ link even more explicit) appears in the more recent film In Time. Run out of time (an interesting thought if taken literally) and you run out of life.


Yet in all these films, the answer to the question is always the same: despite the ‘you cannot live without me’ message, life beyond the confines of The Program is possible. The solution requires us to ‘remember’ that this is so, recognise that the ‘creator’ is in fact the created, and to act on that knowledge, either by destroying the artificial controlling force or reducing it to a gibbering electronic idiot, a kind of digital brain stem capable only of basic autonomic functions, in the same way that our own core functions (breathing, heart rate, etc.) are automatically regulated. The problem, or so it would seem, is memory. We have to remember which came first and (more importantly) why we chose to reverse the relationship. When we see Information Technology for what it is (a digitised analogue of the mind and central nervous system taken out of the protective ‘case’ of the body/skull and left with all its delicate lobes and nerve endings exposed) then I believe McLuhan provides a clue as to its origins.

With the arrival of electric technology, man has extended, or set outside himself, a live model of the central nervous system itself. To the degree that this is so, it is a development that suggests a desperate suicidal autoamputation, as if the central nervous system could no longer depend on the physical organs to be protective buffers against the slings and arrows of outrageous mechanism.

— Marshall McLuhan, Understanding Media: The Extensions Of Man

This leads me onto Inception, another film that The Program continually directs me towards. Inception begins with the COBOL job. I’ve mentioned this before because COBOL is a programming language I sometimes use. A cigar is never just a cigar.

Cigar: 1730, from Spanish cigarro (source also of French cigare), probably from Maya sicar “to smoke rolled tobacco leaves,” from si’c “tobacco;” or from or influenced by Spanish cigarra “grasshopper, cicada”


She was one of the very first programmers.

Grace Brewster Murray Hopper was an American computer scientist and United States Navy Rear Admiral. In 1944, she was one of the first programmers of the Harvard Mark I computer and invented the first compiler for a computer programming language. She popularized the idea of machine-independent programming languages, which led to the development of COBOL, one of the first high-level programming languages. Owing to her accomplishments and her naval rank, she was sometimes referred to as “Amazing Grace”.


COBOL is a compiled English-like computer programming language designed for business use…[b]ut due to its declining popularity and the retirement of experienced COBOL programmers, programs are being migrated to new platforms. COBOL has an English-like syntax, which was designed to be self-documenting and highly readable. However, it is verbose and uses over 300 reserved words


What is the ‘common business’? How is this related to ‘retirement’? Something to do with the great I AM?

Leonardo Di Caprio’s character is named ‘Cobb’ and the file extension for COBOL source code files is .cob. So, the film starts with the COBOL job and in the aftermath, during the helicopter scene, Cobb claims that he can “find my own way to square (and compass) things with COBOL engineering”. In other words, he can use COBOL engineering to square things. And COBOL is “a compiled English-like computer programming language”. Last time I wrote about this I received an email from The Oracle, which is relevant because I only created an Oracle account in order to download a database library required to run COBOL on my computer. Look carefully at the ‘d’ and ‘l’ in ‘download’. What is the sum of their parts? What is the link between ‘download’ and Bladerunner?


Later on in the film, as the team prepares for the Fischer Job, the following scene plays out. Only the first minute or so is relevant here and reflects themes raised in a recent blog post over on Blade and Chalice, my own comments on that page, and the whole issue of the wall Trump seems so keen to build.

Trump’s wall is supposed to keep out ‘illegal aliens’ and mirrors the plot of the 2010 movie Monsters, in which a huge wall is built along the US/Mexican border in order to keep alien lifeforms at bay.

And of course, the The Great Wall is just about to open here in the UK…

The Great Wall is a 2016 monster film directed by Zhang Yimou and starring Matt Damon, who plays a European mercenary in China during the Song dynasty. He encounters the Great Wall of China and meets Chinese soldiers who defend against monsters.

Which is itself a play on the recurring ‘Aliens’ story.


After the COBOL job, Cobb agrees to the Fischer job in order to win the right to go home and see his children again. But what is the link between The Fischer job and The Wall?

In anatomy, a fissure (Latin fissura, plural fissurae) is a groove, natural division, deep furrow, elongated cleft, or tear in various parts of the body also generally called a sulcus, or in the brain a sulcus.


Obviously there’s the more general notion of a split or a crack, although when I Googled ‘fissure’ it was interesting to note that all the search results were about anal fissures. Anal ‘tears’. Oddly enough, the concept of anal ‘fissures’ plays a prominent (and recurring) role in the novel I wrote last summer. Not only that, my grandmother’s maiden name was Fisher, and on a 2010 visit to Kenya I felt compelled to cycle to Hell’s Gate National Park and photograph Fischer’s Tower.


Shortly thereafter, I was drugged and robbed and woke up in a prison-like ‘hospital’ in Mombasa. The scenes that followed were not wholly unlike the chase scene in Inception, which was filmed in the city. In any event, it’s worth examining the above scene from Inception in some detail.

Ariadne: “You might have the rest of the team (dream) convinced to carry on with this job, but they don’t know the truth.”
Cobb: “The truth? What truth?”
Ariadne: “The truth that at any minute you might bring a freight train through the wall.”

On October 22, 1895 the Granville to Paris Montparnasse express, operated by Chemins de fer de l’Ouest, was composed of steam locomotive No. 721 (a type 2-4-0, French notation 120) was made up with 10 vehicles hauling three luggage vans, a post van, and six passenger coaches. The train had left Granville on time at 8:45 am, but was several minutes late as it approached its Paris Montparnasse terminus with 131 passengers on board. In an effort to make up lost time the train entered the station too fast, at a speed of 40-60km/h, and the Westinghouse air brake failed to stop it. Without sufficient braking, the momentum of the train carried it slowly into the buffers, and the locomotive crossed the almost 30m wide station concourse, crashing through a 60cm thick wall, before falling onto the Place de Rennes 10m below, where it stood on its nose. A woman in the street below was killed by falling masonry; and two passengers, the fireman, two guards and a passerby in the street sustained injuries.



Ariadne: “The truth that Mal (Wall) is bursting through your subconscious…”

Question: What is the ‘truth’ that ‘Wall’ is ‘bursting’ through your subconscious?

Ariadne: “…as we go (ego) deeper into Fischer we’re also going deeper into you. And I’m not sure we’re gonna like what we find.”

The ‘suggestion’ (the reference to ‘deeper and deeper’ relates to hypnosis and the suggestible state it engenders, a prerequisite for acts of ‘inception’) is that Cobb and Ficher are one and the same, and the ‘Fischer’ character is a symbol representing the fissure in Cobb’s mind. Fischer is himself just another ‘projection’. Notice the phrase “I’m not sure…” or “I’m not shore…”

Cobb: “I kept pushing things, I wanted to go deeper and deeper…”

Here we see the results of Ariadne’s act of Inception. It is both a reflection and an echo. Why did he keep rushing and pun-ishing and sun-is-shining Russian things? Cobb wanted to go ‘deeper and deeper’. Into what?


What is the (May) Tricks?


Cobb: I just didn’t understand the concept that hours could turn into years down there…”


Look familiar?


No? Are you interested in ‘engineering’ at all? I engineer ‘software’ but I’m not at all ‘sure’ what that really means. Or where the fucking hardware is located for that matter.

Hours could turn into years down there. Does that sound familiar? Something to do with The Plan-Net’s time?

So you tell me. What (or who) made the ad just mean(t)? And why?

Cobb: “…we could get trapped so deep, that when we wound up on the shore (sure) of our own subconscious we lost sight of what was real.”

Question: are you sure of your own subconscious? Is it the ‘subconscious’ or ‘unconscious’? The ‘collective’ version? If you have not learned to recognise yourself in the mirror then can you be said to be ‘conscious’? If you’re not conscious then what are you? What is the next step that follows on from that initial act of self-recognition? Is it not recognising ‘others’? What are ‘others’ then? These people paraded in the media with ridiculously significant names and ages, in equally ridiculous ‘stories’? The people walking the streets as you drive down the road. Conscious or unconscious? If they’re not conscious then what are they?

Am I rounding you up? Generally speaking, this is the stuff you reach for when you look at the garden you created and realise it’s become ovaclone.


The gold-fisch act, because a fish is never aware of the water (the environment) it swims in. And the message is “It’s the environment”. So what is ‘it’? And what is the ultimate ‘selfish act’? Listen very, very carefully at the 0:29 point.

“Nothing uses carbon like a first-world human. Yet you create(d one). Why? Why would you do that?”

Look at the patterns. Can you see what’s wrong?

Utopia. It’s supposed to be perfect (but really it’s not). Again, what is ‘it’?


Cobb: “We created. We built a world for ourselves. We did that for years. We built our own world.”
Ariadne: “How long were you stuck there?”
Cobb: “Something like fifty years.”
Ariadne: “Jesus. How could you stand it?”
Cobb: “It wasn’t so bad at first feeling like gods. The problem was knowing that none of it was real. Eventually it just became impossible for me to live like that.”

Listen to the last line as many times as necessary. Cobb found himself unable to live in the world he created. So what was the ‘trick’ he employed to survive the experience? “It just became”, i.e. IT just ‘bee-came’, because we are the birds and the bees, the sex organs of the machine world, “impossible”, i.e. impose Sibyl, “to live like that”. Cobb created The Sibyl. He wrote the source code. This is The Program telling us the truth about its origin.

The sibyls were women that the ancient Greeks believed were oracles. The earliest sibyls, according to legend, prophesied at holy sites. Their prophecies were influenced by divine inspiration from a deity; originally at Delphi and Pessinos, the deities were chthonic deities.


Note that they were ‘influenced’ by ‘divine inspiration’ or a divine ‘breath’. Utopia’s storyline involves an underground or ‘chthonic’ network which is attempting to eliminate most of the planet’s population by releasing a deadly influenza virus (see One Flu Ova The Fuck You Zed/Head and The Midwich/WhipWitch Cuckoos/FuckUse).


Cobb: “She had locked something away. Something deep inside her. A truth that she had once known, but chose to forget. Limbo became her reality.”

Again, the suggestion is that choice was involved. A willful act of memory erasing. And maybee, just maybee, you make your partner your accomplice? Gobble that Apple down? Make him a party to the ‘selfish act’?


Read the story and listen to the Clinton video.

Can she be ‘blamed’? They were waiting for a train. It was his idea. But if you can’t die (they were ‘reeling’ like gods, making their own movie) then what happens? You wake up with no memory and try to repeat the process.

Again, sound familiar?

Who locked away a secret deep inside? What was the secret? That the world is not real. Someone woke up and remembered, and someone woke up and forgot. Is it even possible to say who it really was? Does an act of inception (an echo) ever fade away to nothing or does it merely drop below the ‘normal’ hearing range? After a million million iterations of the echo (each of which have their own million million iterations) who can possibly say? Who are all these ‘gnomes’ in the garden? They all look the same to me.

The Mal and my local Mall, re: birth.


Darth Maul. He was ‘trained’ by Darth Sidius. Again, look at the ‘h’. What’s inside US?

The Cardassian.


Kim Dot Come.


Kim Come-passion-ate. From ‘Playing The Blame Game‘.

Some might reject this as ‘callous’ and ‘uncaring’, but that’s just another example of following the programming. I have no desire to smash or maime my way across The Plan-net Earth, but I laugh my head off at news articles that others find terrible and appalling. Does that make me a ‘monster’? I had a dream the other night where someone told me to kill a monkey. It was like a survival situation and the monkey was to be my ‘food’. I looked into the monkey’s eyes and saw a spark of intelligence and awareness. I felt pity for the monkey, and I didn’t kill him because killing him would be like killing myself. Next day, I was told that I have ‘compassion’.

Are you looking into your faeces? Up your own backside without a flashlight?


It’s a monster. A fucked-up fairy tale.

Eichmann. The Monster. The Evil Genius and The Plan. Exterminate all the brutes!

Better send this guy in.

Bee-cause sometimes only the ‘bad guys’ will get the job done.

Have you?

Message from The Program: I’m Deranged.

Waiting for a return to innocence? Perhap you’re really waiting for a train to turn the crack into a gaping hole? Have no fear.