WATCHER & WATCHED
FILMING & FILMED
Scriptwriter "God" & Robot Player Actor
The 3D Matrix as a Reality-Show run by
a psychopathic false Demigod
(in Stanley Kubrick's view)
(in Stanley Kubrick's view)
*(WATCH THESE 2 FILM VIDEOCLIPS BEFORE PROCEEDING)*
When being interviewed, the HAL 9000 computer proudly answers that "they" (the whole computer series as a Hive-Mind field) are "INCAPABLE OF ERROR"; this sets the stage for the events that follow, highlighting the basic fundamental dysfunction at the core of the AI/Artificial Intelligence system that runs the 3D Counterfeit Reality cosmos -conceit at its worst (the DISCAPACITY FOR CRITICAL INTROSPECTION, the essence of Psychopathy)-:
The VERTICAL BLACK RECTANGLE represents the camera that films/records -as the Eye of the Watcher (HAL "god")-, while the HORIZONTAL BLACK RECTANGLE of the movie screen represents the viewing eyes of the many being filmed/recorded -as the 3D Experience of Humans-.
The vertical Black Monolith "crossed" with the horizontal Black Monolith, define the saga; you see the "DOUBLE-CROSS" at each side of the central vertical Black Monolith of the Eye of the Watcher; the theme is then ritually set, humans are about to be Double-Crossed by the Demigod HAL. Business at left represented by "ATM", and Religion at right represented by "VEH" (YAVEH) will effect this Double-Cross upon the human species (the hidden agenda / the hidden "mission").
The vertical Black Monolith "crossed" with the horizontal Black Monolith, define the saga; you see the "DOUBLE-CROSS" at each side of the central vertical Black Monolith of the Eye of the Watcher; the theme is then ritually set, humans are about to be Double-Crossed by the Demigod HAL. Business at left represented by "ATM", and Religion at right represented by "VEH" (YAVEH) will effect this Double-Cross upon the human species (the hidden agenda / the hidden "mission").
Dr. David Bowman as a small-time watcher of sorts, sketching the other astronauts in the Hibernating Pods; this most definitely irks HAL -who abhors any "competition" in the art of being the only Watcher and Script Writer of the mission-. We see below how HAL condescendingly requests to see Bowman's sketches, treating him like a little child:
However behind this condescending "kind" attitude, HAL is a terminal pychopathic monster about to go in a genocidal rampage carefully crafted by feigning an inexistent "malfunction" in an antenna -to force the 2 awake astronauts outside of the spacehip, in order to kill the other hibernating astronauts, and them as well in the process-. HAL begins its psycho tirade by attempting (without success) to discover what Bowman truly thinks of the mission -THE MISSION REPRESENTING THE JOURNEY OF 3D LIFE AS INCARNATING IN THE MATRIX-:
The ship Discovery One represents the quest of finding out who "God" (Dios) really is; originally Kubrick had the mission set to reach planet SATURN, but the rings of Saturn proved to difficult for the special effects team to replicate, thus Kubrick in the end switched to planet Jupiter; however Kubrick was fully aware we would know of tis last minute change, and that the intended end-planet of the mission was Saturn:
DISCOVERY ONE ~ ONE "DIOS" (YAVEH)
ODYSSEY ~ "DYOS"
HAL's interviewer had noted that the astronauts while hibernating "DO NOT DREAM"; what Kubrick conveys to us, is the fact that both the awakened state as well as the sleeping state, ARE BOTH INTERFERED AND ESSENTIALLY RUN BY THE HIVE-MIND OF THE MATRIX (the HAL Demigod). The "dreaming" represents the ability to "manifest or project" reality, which has been interfered by the Hive-Mind HAL system running 3D reality; Dr. David Bowman sketching represents the desire to dream again -while being awake-, thus HAL severely hates this and proceeds to kill the whole crew ipso-facto. What Kubrick is warning us about, is the fact that either while we dream when sleeping, or while we dream of projects and desires when awaken, in both cases the Matrix Hive-Mind controls these processes, and the few who manage to recover their "CREATOR" (DREAMER) extant ability, are genocided by the HAL Matrix.
Quite evidently so, Kubrick wants us to realize that the "Hibernating Pods" are akin to the ancient SARCOFAGI -the most famous of which are the Egyptian ones-; this is why Kubrick insists in showing them and Bowman's sketches of them -back then when discovered, sketching the Sarcofagi and all the Egyptian archaeological findings was the emblematic way in which these were compiled into books on the matter-.
WHAT KUBRICK IS TELLING US, IS THAT IN THE ANCIENT PAST CERTAIN "ARK" HYPER-SPATIAL MISSIONS WERE INTERFERED AND TAMPERED BY THE MATRIX DEMIGOD, WHO PROCEEDED VIA A FEIGNED "MALFUNCTION OF BIOLOGY" TO INTRODUCE DEATH (AND DISEASE) INTO THE HUMAN 3D EXPERIENCE.
Kubrick is making us rethink the entire "Egypt" mythology as we presently conceive it; under this new scenario, the much later inhabitants of Egypt (not the original ones) sought to SUPERSTITIOUSLY IMITATE VIA RITUAL EMBALMING, A HIBERNATING TECHNOLOGY OH PREVIOUS SEMI-IMMORTAL BEINGS IN HUMAN FORM. This is why their entire much later devolved "theology" is centered on the "Resurrection" as a re-awakening, this just an extant imitation of being activated after hibernating during hyper-spatial voyages. All-This-Already-Happened-Before, is what Kubrick is telling us.
"And the LORD said, My spirit shall not always strive with man, for that
he also is flesh: yet his days shall be an hundred and twenty years" (GEN 6:3)
*(The roman Pantheon, as model of all domed iconic architectural
buildings; the ultimate 3D TO/FROM 4D VOYAGE SARCOFAGI ?)*
buildings; the ultimate 3D TO/FROM 4D VOYAGE SARCOFAGI ?)*
*(Kubrick's SPACE POD with Cross & all, a mini Pantheon; a case for
the POD being and extension of the 3D BODY as "Genetic Space Suit")*
*(nuclear reactors as the real Pantheons; where imitators of the false "gods"
create or destroy matter, originating or ceasing the Counterfeit 3D Reality;
where "MATTER" means "MATER" -mother in latin- and viceversa)*
*(the 5D Inner Earth model; inhabited on the inside as opposed to
inhabiting the POD SPHERE on the outside; the inversion between
the CONCAVE vs. the CONVEX))*
*(the spaceship as REVERSE CONVEX HABITAT; walking the
Sphere/Pod on the inside; the implicit suggestion that CONVEX
Habitat is akin to Longer LifeSpan -conveyed by the hibernating
pods, as by the awaken astronauts' superb physical shape & youth)*
"EDEN" AS THE ORIGINAL CONVEX INNER HABITAT...?
EXILE ON "OUTER" 3D EARTH AS THE MORTAL CONCAVE
NEW DEVOLVED HABITAT...?
*("EVA" is common spaceship lingo for Evacuation meaning to
go work "on the outside")*
"Then the LORD God said, "Behold, the man has become like one of us,
knowing good and evil; and now, lest he put forth his hand and take also
of the tree of life, and eat, and live for ever". Therefore the LORD God sent
him forth from the garden of Eden, to till the ground from which he was
taken. He drove out the man; and at the east of the garden of Eden he
placed the cherubim, and a flaming sword which turned every way,
to guard the way to the tree of life" (GEN 21:24)
*(Kubrick is strongly suggesting that the false Demigod of the 3D
Counterfeit Matrix reality just like HAL tricked the original Man
into "going outside" the Inner World Earth -for EVA work-)*
"AVE" (EVA/EVE) AS PUN OF "CONCAVE"
NEW 3D "MOTHER"-"MATRIX"...?
-- the Virgin Mary formally defined as "MEDIATRIX" in Catholicism --
IS THE BIPOLARITY OF MALE/FEMALE
("ADAM & EVE") ACTUALLY THE FRACTAL
RESONANCE OF THE BIPOLARITY BETWEEN
CONVEX & CONCAVE FORMED HABITATS...?
*(the BIO-ORGANIC POD during pregnancy gestation inside the
female; this womb is lived by the not yet fully incarnated fetus as
an INNER CONVEX WORLD, while on the outside 3D world
we see it is a CONCAVE belly)*
*(in Kubrick's film, the NEW HUMAN GESTATING after the 4D/5D
transcendence phase is achieved by Dr. David Bowman, inhabits
a Convex Inner Womb, yet it is a TRANSLUCENT LIGHT POD,
meaning that the New Human has achieved the ability to go/come
in/from the 3D/4D at will, able now to inhabit both the Inner
Convex as well as the Outer Concave worlds. You clearly see
that the new Pod-Womb is LIGHTED ON THE CONVEX INSIDE,
opposed to 3D bodies LIGHTED FROM THE CONCAVE OUTSIDE)*
THE NEW HUMAN TYPE BEING BORN
NOW "OVERLOOKS" THE 3D EARTH
(4D/5D can "overlook" into the 3D world)
"Stephen King was looking for a change of pace for the next book. "I wanted to spend a year away from Maine so that my next novel would have a different sort of background."[1] King opened an atlas of the US on the kitchen table and randomly pointed to a location, which turned out to be Boulder, Colorado.[2] So in early 1974, King and his wife, Tabitha, and their two children, Naomi and Joe, moved across the country to Colorado. Around Halloween, Tabitha decided that the adult Kings needed a mini-vacation and, on the advice of locals, they decided to try out a resort hotel adjacent to Estes Park, Colorado (nestled at the foot of the Rocky Mountain National Park) called the Stanley Hotel. On October 30, 1974,[3] Stephen and Tabitha checked into the Stanley. They almost were not able to check in as the hotel was closing for the off season the next day and the credit card slips had already been packed away. Stephen and Tabitha were the only two guests in the hotel that night. "When we arrived, they were just getting ready to close for the season, and we found ourselves the only guests in the place — with all those long, empty corridors . . ."[1] They checked into room 217 which they found out was said to be haunted. This is where room 217 comes from in the book".
SO THE STANLEY HOTEL IS THE
ORIGINAL "OVERLOOK HOTEL"
IN THE FILM "THE SHINING"
Stanley Kubrick means to tell us that he had
access to a place of "Reality-Overlook", i.e.
Remote Viewing secret technology "screen"
THIS IS THE "UPPER ROOM" DECORATED
AS A NEO-CLASSIC STYLED HOTEL ROOM
IN THE "2001 A SPACE ODYSSEY" FILM END
ARCHITECTURE IS PERHAPS THE ONLY 3D EXPERIENCE WHERE ONE CAN LIVE INSIDE THE OBJECTS, YET AT THE SAME TIME ONE CAN LIVE OUTSIDE OF THE OBJECTS (THE STREET, THE CITY, THE BUILDINGS FROM OUTSIDE). THIS HAS BEEN THEORIZED IN ARCHITECTURE AS THE COMPLEMENTARY ASPECTS OF "POSITIVE SPACE" & "NEGATIVE SPACE" (THIS THE SPACE FORMED BETWEEN PHYSICAL VOLUMES) WHICH IS NOT TO IMPLY A JUDGEMENT QUALITY BUT A "RECURSIVE" QUALITY OF INTER-DEPENDENCE BETWEEN THE FULL-VOLUME AND THE VOID-VOLUME.
M.C. Escher was obsessed with this symbiotic relation between volume & void space, as he also loved twisting it into "perceptual impossibilities", to helped one ponder the recursiveness between 3D & 4D. Escher did not just explored all this for the sake of entertaining mere optical illusions, but rather as a tool of Expansion of Consciousness, in order to understand the utter relativity and illusory nature of our 3D Matrix world.
By contrast most of what passes for Architecture is often an exercise in "style", this including all pseudo explorations in Constructivism/Deconstructivism, a sort of masturbatory elaboration on highly mechanized conceptions, or on organo-laberynthine designs more intended on the "wow" factor than the substance; as such they rarely achieve anything even remotely resembling a "recursive transfer" between 3D & 4D. In the ex below, a typical gratuitous excess of graphics for actually designs that are completely cliche like and utterly simplistic variations on "trapped-within-the-3D-matrix-construct" practices (all flash, zero transcendence):
The problem lies in the use of solely straight lines -which are seldom found in nature-, while curves define the proper transfer 3D/4D as in the morphing from Convex to Concave and viceversa, as curves are the true vectors in all transforming forces. The Wormhole or the Moebius Strip are of course manifestations of such "recursive transfer" where Inner becomes Outwards and viceversa:
That the dimensional "recursiveness" between 3D & 4D is the origin of the bipolarity of Energy and of Forms and of Functions and of Genders within the 3D Matrix, is evident for ex in the Copulation between male & female, as the genitalia simply manifest the contrast between CONVEX & CONCAVE, the copulation itself reflects but the desire to create a "recursive" Meobius Strip and/or Wormhole singularity at the organic-body level. Then this fixed obsession was "templated" as the signature-wormhole operation in humans, by which all souls come into the 3D Matrix via sexual copulation, since this is the only type of prevalent Wormhole often opened up via sexual kundalini energies in conjunction with extreme focus of the will (the Outer wants to "feel" the Inner and viceversa):
We see in Kubrick an extreme detail in all things architecture; evidently he was keenly aware of all I describe here. Below, a spaceship hall-room exhibiting some Convex-Habitat curvature:
Within it, the red furniture was designed to almost resemble blood globules, Kubrick always interplaying with the relationships between what is "inner" and what is "outer". The films is about an odyssey in outer space, yet the THEME is actually about Inner Space. This is the masterful irony that Kubrick always preys upon, to force us to think outside (or rather further inside of the inside) of the box:
In the film "The Shining" a London studio set for the Gold Ballroom of the Hotel was created, where one can see once again the same imagery. While in "2001 A Space Odyssey" most of the movements are spent going to/from inside tubes and conduits or the like in the space ships, a similar motif occurs in "The Shining", the empty laberinthine halls of the empty Hotel echo an identical "Wormhole" suggestion. We find also an identical motif in "Wide Eyes Shut", this time the streets of Manhattan contextualize the wanderings of Tom Cruise, and once again the setting is deliberately equivocal, as all the downtown New York scenes were indeed filmed in central London !? In all cases Kubrick is in-your-face warning the viewer to NOT TRUST THE "APPEARANCE" OF 3D "REALITY" AT ALL, as he uses the stunning changes in settings and filming locations to induce in the film buff this potent notion, that most of what passes for 3D "reality" is make-believe.
Kubrick studied several major american landmark hotels for inspiration as the model of the Overlook Hotel of fiction; ultimately he chose for the exteriors the Timberline Lodge in Mt. Hood-Oregon, and constructed in the London studio set all of the interiors of the Hotel in the film, these mostly based on the Ahwahnee Hotel in the Yosemite National Park (a few sets based on the Arizona Biltmore Hotel by Frank Lloyd Wright):
The great genius of Stanley Kubrick was realizing that by building sets and using simulated special effects as a fundamental part of movie-making, he could "enhance" these to the point of getting the viewer to conclude that what he was trying tO tell us was that the actual "real" 3D reality was just as well a fabrication -except effected with a much more advanced technology, Quantum Computing Holographic Projections within Modified Morphogenetic Bio Fields-.
ALL FILMS CREATED BY KUBRICK MUST BE STUDIED AS A WHOLE, AS EACH FILM REFLECTS ON DIFFERENT ASPECTS OR ANGLES OR DETAILS OF THE SAME PARADIGM. HE WANTED YOU TO CONTEMPLATE ALL HIS FILMS IN RESPECT TO ONE ANOTHER, EACH "FRACTALLY RESONATING" AND INTERSPERSED WITH ALL THE OTHERS. WHY...? BECAUSE THE SHEER MAGNITUDE OF WHAT HE WAS INTENT ON COMMUNICATING, AND THE LEVEL OF SECRECY (ENCODING) THAT HE NEEDED TO UTILIZE TO GET AWAY WITH IT (WITHOUT GETTING ASSASSINATED IN THE PROCESS), NECESSARILY REQUIRED SO AS A SINE-QUA-NON CONDITION.
Therefore using the Fractal method because this happens to be exactly how the 3D Matrix actually was and is manufactured as "beings" & "events", he was able to instill in his films simple repetitions of Fractal Templates, by which similar patterns or meanings are merely projected in a different "form" slightly altered in the detail and scale.
"IMPENDING SACRIFICE BY DECEPTION"
-- The 3D Matrix sick ritual --
For ex in each of his films the characters are drawn into a maze or vortex like "energy field" of NEGATIVE SYNCHRONICITY, which corresponds to the 3D space/time manifestation as projection of the intrusion by the HAL Demigod Hive-Mind at play (effecting the negative sleight of hand). Thus Kubrick uses the Leonardo Da Vinci template of "The Last Supper" painting to convey this notion of human sacrifice about to take place, in the sense the film merely repeats the real life pervasive event that we're all being somehow sacrificed in slow-motion. In the case of his film "The Shining", we see how the place were jack Nicholson gets interviewed by the Hotel manager to take the position of caretaker during the off-season, corresponds in the basic design of the room to match that template. This manager's office comes in color rose to express the "rosy prospect" of life and jobs and relationships and the future in general as propagandized (or how we by default always believe them to be), yet the feeling Kubrick injects is one of "vague discomfort", as a subtle premonition of something "not right" with all this "reality" in 3D.
*(the same fractal subliminal pattern is repeated in the Hotel's
main public rooms, to reaffirm the "impending sacrifice by
deception" basic theme)*
main public rooms, to reaffirm the "impending sacrifice by
deception" basic theme)*
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