Monday, May 31, 2010

KUBRICK Tutorial 1

The ilussion of 3D Linear-Sequential becomes evident whenever
we encounter "Synchronicity". Anybody -(be it a musician, movie
director, philosopher, or what have you)- that crosses the rubicon
so to speak, immediately begins to resonate beyond linear Space &
Time, establishing direct-links with others, up to great detail. For
ex Neil Young in the early 70's wrote a song called "Cowgirl in the
Sand" about an extra-marital one-night-stand with a little more
than just a slut -rather a Monarch Slave type-, leaving him at a loss
of words to try explaining it to his wife; the short lyrics song verses
on puns & imagery related to mind control -the monarch type even
utilizing trauma based commands to produce alter personality shifts
with different names and "gem" icons to hold them in place- along
lines of "Hello Cowgirl in the Sand, is this place at your command,
... old enough now to change your name... Hello Ruby in the Dust,
has your band begun to rust, purple words on a grey background...".

The film "Eyes Wide Shut" directed/cowritten/produced by Stanley
Kubrick (considered by many the greatest director ever), verses in
part on the same monarch-slave types, and the above link shows its
poster in reverse, the main title in grey against all else in purple...

The color purple symbolizes Royalty/Nobility (with the pun of the
vampire lines amongst them, purple urine -same pun utilized by
Prince in his 80's hit song "Purple Rain"-). It is not necessarily that
Kubrick had listened -and understood hidden meanings- of the Neil
Young song, or even in extreme that Neil himself would have totally
understood to a tee what he was writing about (not that he may not
but that it is not a 'must' condition to writing the song). In fact the
most common is that a writer or director understands all the puns/
innuendos/clues/codes/passwords/ UP TO A POINT ONLY, but
many of these are SUBCONSCIOUSLY GRASPED, bypassing the
"erasure filter" of the conscious mind altogether. This is what the
expression I use -'crossing the rubicon'- exactly means, that you
are able to reach another sphere of reality -the Psyche, immersed
in full Synchronicity mode-, tapping into it whether fully conscious
or not all the same.

Once in this Psyche terrain, all concordances manifest, and direct
the conscious creation or research; this is the realm of FRACTAL
HARMONICS, where the linear thread that is spread out in any
space-time dimension, gets wound-back to the original ball, and
there you apprehend the circular proximity of thread-segments
otherwise greatly spread apart once it is unwound (stretched out).

If you saw the film "Eyes Wide Shut" and did not understand it to
a general sense, you are in big trouble; the movie is precisely about
a man/woman likewise, who go through some shocking and surreal
very rude awakening of sorts. Awakenings need no be the rude kind,
when they are thus, it is only due to the persistent stubbornness &
disdain to the zillion clues prevalent in normal life that most ignore,
until it becomes a dam of contained awareness ready to overflow.
Awakening can be beautiful and painless; in fact Art is exactly this
kind of awakening. Stanley Kubrick saw that films could serve as
a powerful tool for awakening, and are ideally suited to convey the
content of higher realities, without the constant interdiction of the
linear-logic constraints. Kubrick's films incorporate these notions:

(1). The notion that "dream" and "reality" are often the same.
(2). Oral/written language carries Codes of a different reading.
(3). Real life theme icons intermingle with the plot of the movies.
(4). All his films acts as "one" field, referring to one another.
(5). Everything is a Fractal of something else (holographic principle).
(6). External reality is manipulated by secret cabals.
(7). How a human is different from a robot/computer is a fine-line.
(8). What you think you know about life, is a complete delusion.
(9). You don't know who you are, at all.
(10). Every single one object in a film, must be deliberate and not
simply "visual/audio white noise" at random -like every note in
a musical piece cannot be thrown in without proper intent-.

We see how a few of these notions were utilized very well by Wim
Wenders in his seminal film "Paris-Texas", to great effect in terms
of emotional impact and consciousness awakening. Both this film
and Kubrick's "Eyes Wide Shut" although very different, share the
same super-slow treatment, allowing the viewer to sink-in without
a barrage of distractions. You are then quietly instructed to in great
detail O-B-S-E-R-V-E and take notice; precise clues/keys are laid
out for you to heed everywhere, in this way recreating the same
situation as in your real life, where you don't see/don't hear a thing,
even though the most important clues are right in front of you. In
fact you are compelled then to see the film many times over, as in
every new viewing you will discover clues your conscious mind in
all purpose "filtered out" of your perception. Films of this sort
become tutorials to your own pervasive terminal blindness, in the
sense of dangerously lacking awareness & introspection.

"Eyes Wide Shut" was released on Sept 10-1999 in the UK, where
Kubrick had resided for decades. All linear-logic would suggest that
if Nicole Kidman plays a vague monarch-slave type, then Kubrick
must have chosen her for her role in the film "Stepford Wives"; as
a matter of fact, Tom Cruise who also plays her husband (Kubrick
deliberately creating the mirroring of film & real life) later married
Katie Holmes who has been sarcastically called a 'stepford' to him,
and in the film Cruise & Kidman are "Doc & Mrs HARTFORD", an
in-your-face pun of 'Stepford". But of course... the film "Stepford
Wives" was released... after... in 2004...!? A perfect example of my
point, that once in the Synchronicity field, linear space/time lose all
sequence. Yet that does not mean the ties are not real.

Kubrick had been working since the 70's in his film "AI", unable to
produce it because he wanted a digital-created image of the android
as the main character who is programmed to "imprint" the owner's
persona, irreversibly learning to love them as father/mother; in '95
he gave it to Steven Spielberg who directed/cowrote it releasing the
film in 2001 (his best ever), who managed to preserve intact many
of Kubrick's original exact details. The film then questions to great
depth the distinction between human & android, more specifically
the 'cheesy' version of a programmed by software love in the form
of an embedded mental 'imprinting'; not that it's a bad thing at all,
but in the sense that this is not SENTIENT LOVE per se. A teddy
bear figures prominently as an iconic image of the former (Elvis
where art thou...?); it's self-evident that a dangerously high portion
of females show this kind of 'imprint' love towards men who act as
their 'protector/provider' -teddy bear and all-.

Even as early as Francis of Assisi, we already find strong cautionary
teachings in this regard; this man taught a life of total poverty in all
deliberate purpose to destroy the male-icon 'imprint' (love me now
that I am totally destitute, huh...?), furthermore teaching that it is
the Love of Truth in itself that is above all else, and that Love itself
needs to be loved as well. Translated: don't "love" my uniform, or
my house, or my horses/cars, or my money/penis, but love "me".
The only way you'll be able to do this -said Francis-, is if you first
learn to love Truth and Love in themselves; the trick being, that
if you think you already know the Truth, you're lying to yourself.
When Francis was throwing a high-class life away, this a symbol of
also throwing out what you "think" that you "know". If you insist
that you"already" know, you simply can't love at all, because Truth
is a highly convoluted DISCOVERY process, a full Awakening feat,
a voyage into the truly unkown in yourself and in reality. Thus the
unavoidable conclusion is, that mere 'imprint' iconic-role "love" is
actually a Robot-Software feature, while TRUE LOVE (based on an
experience of real Change & Challenge, rise-up, elevate, ascend,
expand consciousness, become aware, introspect, be fully sentient)
is the only Infinite Love spiritual free paradigm, found in discovery,
found in getting to know yourself for the 1st ime in depth, and also
getting to know the hidden nature of 'reality' around you. This Love
is never afraid of the Truth or accidents like poverty, it's meaningful
and not just a going-through-the-motions, business as usual.

In most Kubrick films, females appear as either totally oblivious
and subservient "maid" types (like drone people), or as Monarch
slave types; in "The Shining" the wife is utterly clueless until it is
way too late and she and the child are in grave danger -even as
the child had given more than plenty of warnings-. In "2001 a
Space Odyssey" hardly a female appears, and both the father &
mother of the main character are portrayed as 'Stepford' types,
cookie-cutter laughable types. "Eyes Wide Shut" then enlarges
the role of Nicole Kidman to almost equally important as that of
Tom Cruise, even though she shows less "Sentiency" (the entire
plot is also a dream-projection on the part of Cruise, expliciting
his inner turmoils, while Kidman only is able to either fantasize
or dream an altered version of the Somerton castle proceedings,
implying less psionic/sentient capacity). Of course a feminist
might interpret all this to mean a misogynist nature on the part
of Kubrick; yet perhaps he is onto something, in the sense MOST
women still show that lack of introspection/sentiency -evidencing
only the turmoil, but not the ability to live/project it-. Kubrick
married 3 times, the last wife lasted a long time until his death
only 4 days after a private premiere of the film in 1999; we might
surmise that his previous 2 wives were of this lower "sentiency"
quality to him,as the 3rd and last was a painter, and Kubrick used
her many paintings in most of his films, extensively so, in every
wall. This is quite obviously, a statement of her worth; back then,
to find artistic or intellectual females was not an easy task, so this
must by suggested as the reason for his view on women as lacking
in introspection/sentiency (sentiency as the ability to be totally &
fully aware of things inner/outer, via "Critical Introspection").

In "Eyes Wide Shut", the plot revolves around Kidman's blunt oh-
so clumsy (while being stoned) confession to Cruise of her fantasy
about a Naval officer she met, the lust for whom she would have
"instantly" left him and the kids, no matter the consequences. Of
course the absolute insanity of such creates a huge rift in Cruise's
ego, and this detonates his prowling around, sexually trying to at
least feel desired potently again, which by serendipity leads him
to the real underbelly of the very high-class (i.e. world Nobility)
in all its nightmarish satanic overtones. What Kubrick implies is
that her insanity destabilizes a Cruise (Doctor Bill Hartford) that
is already an accident waiting to happen beyond the thinly crafted
external appearance of "solid persona" in a role of doctor/husband.

In Kubrick's films everything really crucial is always in the details
-God or the Devil always in the details-; the crucial clue here, the
UNIFORM of the Naval officer. No "real" lust or love, but ROBOT
pre-programmed Monarch type attraction to roles/uniforms, as
if she is 'playing-doctor' or 'playing naval academy' with life, still
as an adult; all in all, just trojan Pavlov pathological reactions she
can't even control (to the insane point of throwing her entire family
away just to be 1 single night with that Naval officer... and... then
tells this to her husband.. to the horror of his...). Yet from the very
beginning of the film, this is what Kubrick was weaving about her,
as she undresses letting her dress fall down with no underwear,
exactly the same way the Monarch slave models in the Somerton
satanic ritual orgy do, both still in high heel shoes while naked.
Kubrick is unmistakably telling us: this woman (Mrs. Hartford)
even if she is not a Monarch slave, behaves e-x-a-c-t-l-y up to the
smallest minutia like them...!? In other words, that "borderline"
Monarch syndrome, is pretty much no different in the end to the

real Monarch slaves. This is why at the end of the film she has a
dream of being at the castle ritual orgy somehow, to mean in her
psyche she is PART OF A HIVE-MIND, directing her "desires".
At the very end of the film, she tells Cruise "We must f*ck as soon
as possible", this meaning they WILL FOR THE FIRST TIME HAVE
she will now get to have sex with the real guy inside, not just the
"uniform of the doctor" icon/gem figure of mind control she had
"loved" falsely in the past, by sheer obsession/compulsion. Now
this -call it what you may-, but this is the 'Real Deal' in
to dissecting male/female relationships and the archetypal
mindset of the attraction.

If you no not pay attention to the tiny details & are unaware of the
psychic programming techniques involved, you'll be left wondering
what the hell is the film about, and stunned by an incomprehensible
end. Cruise on the other hand goes to a patient's apt that had just
died, to comfort his daughter who is about to get married, as she
confesses her "love" for him asking him to run away with her, right
before her fiance arrives...!? All this on sight of the dead body of
her father still in the bed... Kubrick is again telling us, that these
women are utterly insane, victims of psychic trojans. Crucially
now, we must observe that she and her fiance, are REPLICAS of
Kidman & Cruise; in fact Cruise accepts an offer of a hooker named
Domino to get laid; a Kidman's cellphone call interrupts the outcome
and the next day Cruise goes there again this time her roommate
is there, they kiss, but she backs off telling him that today Domino
came HIV positive...!? The point here, that all these women are
also EXACT REPLICAS of Kidman; moreover, when Cruise goes to
a costume shop to get a mask & robe for the castle party, we see a
teen underage depraved girl (Leelee Sobieski) in a 3-some with 2
japanese guys that are dressed as females (wigs, lipstick & all)...!?
This time again, she is also an EXACT REPLICA of Kidman (same
white underwear), implying in all cases that most "women" are a
FRACTAL PROGRAM in the form of a 'Stepford' manifestation, its
worst expression the Monarch slaves models at the castle ritual
satanic orgy. Kubrick is never stating "all" women are such, yet he
is clearly stating "most" (or a sizable portion of) women have this
REPLICA fractal Hive-Mind syndrome.

In this respect, we find that Kubrick agreed with science-fiction
seminal writer Philip K. Dick about females having this propensity
to being The-Same-Woman (to P.K.D. also bent in destroying the
male at the least expected moment); naturally the android theme
of "A.I" must have made reading indispensable resource
for Kubrick (but Kubrick is clear in his 'just-most/not-all' stance,
as well as his expose of the male hypnotism domination scheme).

This is an excellent analysis of the film, albeit strictly from what may
be best-termed psychoanalytic perspective, NOT including any ref
to mind control, or the nobility satanic illuminati elites, or the veiled
expose of some in the church, etc. It may be coupled with the Videos
(Part 1/Part 2/Part 3) of all the relevant film scenes discussed {the
video opening scene Nicole Kidman in underwear walking backwards
and parallel to Leelee Sobieski in identical pose, is unrivaled towards
illustrating The-Same-Woman paradigm of the Hive-Mind female
collective Kubrick exposes as fractal/holographic syndrome, then
the passed-out naked model in the bathroom with similar naked
woman in wall painting behind, ex. of the same}:

In the dramatic "Red Cloak" high-priest scene at the castle, notice
on top of the chair/throne a DOME and a CROSS, Kubrick's way of
saying that this is a "Pope" type of figure (dome of St Peter's or
the like, St Paul's Cathedral in London, or what have you), and not
simply a secret cult leader. He implies here that the satanic rituals
are not a mere pastime of the super-rich and the nobility, but also
the very foundation of both SPIRITUAL as well as MONETARY
business in the world. When Cruise goes to see his old schoolmate
playing at the "Sonata Cafe", this means "Son"/"Satan". This
jazz cafe sits right across the "Rainbow Fashions" costume shop,
but a BLIND TO CLUES Cruise can't spot that, he takes a taxi,
and the taxi goes in circles landing him across the street...!? This
means also that the "Entertainment" industry acts as a "Foyer"
or antechamber to the satanic illuminati underbelly of the world;
you have a few drinks, lose your coordinates, you're history.

At another level -coupled with deliberate "object setting errors"
a the beginning of the film (pointed by the link article)-, implied
is the fact that we are actually WITHIN A DREAM-MATRIX SET,
where not all objects "match" the next scene or shot, that there
are mismatches or "object anomalies" and that we must be smart
to observe them...!? Kubrick with this implies not that the film is
a dream-matrix, but that our entire reality is such; this is why he
so blatantly toys with the inter-mingling of the real marriage of
Tom Cruise to Nicole Kidman (then a real couple) and the film's
marriage of "Doctor & Mrs. Hartford) that they portray. Meaning
the film is a MIRROR of real life
, what happens "in" the film, is
actually what happens to YOU in the "real" world -unaware of-.
This "Mirroring" is evident in the purple poster of the film (a
mirror containing the faces of Cruise/Kidman), as well as the
many mirrors we see throughout the film; mirrors are also a key
feature of mind control, signifying "Alter" mirror-personalities.
All this is quite ostensible in the film, once you realize what it is
all about so clearly.

The MATRIX fake-staged "reality" is phenomenally enhanced by
Kubrick through a super simple formula; "BLUE" is the External
"Moon-Beam" projection of the Matrix (i.e. "Bluebeam" project,
holographic reality), while "RED" is the Interior world. This is why
unreal Blue windows are always contrasted with a variety of Red
center objects (floors, pool table, curtains, etc). Actually Kubrick
wanted this overly-emphasized, therefore he had to invent a new
photographic procedure that exaggerates color in films, to this
end for the film! Using Std. English Gematria (a=1, b=2, ..., z=26)
we do know that: [ RED=27=CODE], and {worl-D trad-E cente-R}
last initials yield "RED" in reverse. Definitely there is much more
than meets the eyes with these Blue/Red enhanced colors coding
on the part of Kubrick, he very obviously knew stuff we don't; the
use of repetitive RED color for interiors and specially the castle
central ritual, is certainly Kubrick's way of saying to us: 'look at
the Red' code... 'look at the Red' code...

Besides, the film is placed in New York yet the actual filming was
in... London...!? The "Somerton Castle" actually was a real castle
of the european nobility used for similar ('cept much worse) rituals
shown in the film. This is Kubrick's biggest secret statement of all,
implying THAT NOTHING IS WHAT IT SEEMS, and that all the
external reality settings, are merely FABRICATED MOVIE-LIKE
STAGED BACKGROUNDS. The way Kubrick emulated New York
to perfection, is his way of warning you that "reality" is not what
it seems so convincingly; all entertainment, business, religion,
country club, etc, are "setups" for "another secret reality" from
behind the scenes to which most are oblivious to. A backstage
reality for the few illuminati, with passwords, unrestrained sex,
beyond-the-law power, total domination of the world, et al.

Now we must then have a look at the encoded language of the
names; the password to the castle secret orgy Cruise obtained
was "FIDELIO" -the name of an opera Beethoven wrote about
a wife that saves her husband of certain execution-. However
the name encodes else: "FILI DEI" in latin means "Son of God",
and here the hint is at the Opus Dei that control the Vatican
presently -who some have accused of practicing satanic rituals-.
The Monarch slave that saves Cruise in the castle means that
in the notion of "Redemption" -("I redeem him" says she)-, as
suggested by Kubrick, we have a sick "transaction of sacrificed
souls" by the secret controllers, this epitomized as the ultimate
"sacrifice of the Son of God for us" in the Cross. In other words,
Kubrick is strongly suggesting that this secrtet illuminati cabal
propagandize their age-old rituals through religion, "sanitized".

Irrefutably the biggest giveaway clue is found in the name of the
hooker -"DOMINO"; it is almost literally "DOMINE", as the latin
church liturgy benediction goes "Domine Patri, et Filli, et Spiritus
Sanctis" (-in the name of- the Father, the Son, & the Holy Ghost").
Here as the entire theme of the film is Monarch slave satanic style
control via sex in part, the pun means "DOMINATION", which
we can understand better as "Do-Mi-Nation" (key of C, key of E,
Nation); interestingly the singer BEYONCE that has been accused
of being an illuminati satanic front, shows this "CE" at the end. Of
course "BEYONCE" is an in-your-face cipher for "OBEY"-CE...!,
domination in quite the command form... (Even more spookily,
Cruise in the bed stoned scene, says: "It's not that Black & White",
he wearing black underwear, she wearing white underwear. Was

he hinting at the current black reversal in power?).

This is not a scattered ref, since Cruise goes to the castle party
through the "Password" given to him by his musician friend who
actually plays keyboards at the ritual (i.e. "musical key"). Indeed
Kubrick chose a piece by Jocelyn Pook, which is not satanic at all,
whose romanian lyrics go "And God told his apprentices... I gave
you a command... to pray for the god of mercy, peace, life health,
..." (etc), for that eerie castle ritual scene.

However Kubrick plays the piece IN REVERSE, meaning with this
that a RELIGIOUS text is reverted into satanism; he emphasizes
this reversion by panning the camera circularly counterclockwise;
the same exact counterclockwise movement of the camera seen at
the beginning of the film when Nicole Kidman is approached by the
european older nobleman who tries to hypnotize her using all the
mind programming cues & triggers he can think of (to which she
is falling for, but at the end she 'disengages'...). Females are thus
epitomized in the film as literally "Dominoes", cookie-cutter figures
of ractangular "Monolith" shape -(see "2001 Space Odyssey")-, we
see here: {do-MINO ~~~ MINO-loth}. You make one domino fall,
and the entire set falls along, i.e. "Domino Effect" in females, why?
Because Kubrick suggests most females are part of one Hive-Mind.
The whole film exposes how that similar Domino/Domine trigger,
and ultimately a "Domi-nation" scheme preys upon unaware males
also, intending to enact on males what has worked so evidently well
with the female Monarch slaves, so far (as to the Monolith, it will
be later addresses, that Kubrick intended it to mean the actual
movie screen -exact proportions- in the sense we project "reality").

We can view the "Domino" clue as: {DOMINO ~CD ROM MIND}.
That this is evidently so, is confirmed by the other clue of Domino,
that this hooker had "Tested positive for HIV"; we can view this
as: { HIV ~ HIVE MIND}. Kubrick without a doubt is giving a lot
more than vague metaphors, for all who care to analyze his films;
he knows that every film of his is dissected to the slightest minutia,
owing to his abnormal penchant for obsessive detail. So he simply
used this to encode info that otherwise would be overlooked. Thus
he simultaneously yuxtaposes many references, including the full
Psychic Trojan Virus Neuro-Linguistics aspect of mind control.

This is from the getgo suggested very strongly as a hint (to look
at language codes) in the before mentioned "Hartdford/Stepford"
pun, as well as the name "ALICE" of Kidman in the film; you had
to be living in a cave not to know this name means mind control
(emblematically so, Alice in Wonderland).

The musical piece in Romanian, coupled with the older nobleman
-Hungarian- at the Christmas party (the white almost empty table
symbolizing the church altar) imply VAMPIRISM (Transylvania
is Romania/Hungary area). The film was based in a 1926 novel
called "Traumnovelle" in german (later named "Dream Story" by
austrian writer Arthur Schnitzel; here "TRAUM" pun of TRAUMA
based mind control (Monarch programming). Kubrick without a
doubt, in his later years had grown quite aware of the linguistic
Gematria angle to it all.

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