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…”
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?
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.
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.