Addressed in this series thus far, were the occult origins and classifications of angels, demons, and preternatural entities; the folklore that ideas of these entities created throughout ancient and classical society, as well as the possible inspiration for some of today’s surviving folklore; and the modern scientific studies that fit surprisingly well with these older ideas, from quantum physics to psychotherapy, with other fields in between. Interestingly enough, the synthesis of these data sets provide a unique and provocative look at modern physics and brain sciences that are hardly mutually exclusive. For further detail, the ideas laid out in this series are much in line with the theoretical physics model researched by Michael Talbot in The Holographic Universe.
The point of a series, of course, is for ideas to build upon one another, and so a reader skipping the prior three parts will hardly find much more than some fanciful ideas. However, they will be completely missing the theoretical model given as context.
To simplify—suffice it to say that the first three parts of this series addressed demonology, and this fourth edition provides an epilogue, or a cross-reference. With the theoretical model at hand—an idea of a neuro-language instigated by a wave-particle dualism; a dualism that can have holographic implications bordering on the idea of the “egregore”—this model’s ideas can then be extrapolated and transposed onto other, more philosophical notions, in order to draw deeper implications. Thus, take a consideration of this model with the idea of “media” as it is known today, and also the symbolic states of shamanic trances or dream-states that occur in the brain. The point of reference, in this case, is the irreducible complexity of both phenomena, which this article asserts to be “art.” The mode of comparison, in this case, is symbolism, or to be more precise: the imagination.
Far from being something that a child needs to learn to compartmentalize, the imagination is a reservoir or well of phenomena that can, in a sense, be physically tapped into and drawn from. Truly, there is, as the Tibetans would say, a “stream of consciousness”—an infinite and continuous network of electromagnetic puppet strings, each string tied around each and every neuron that fires in a lively brain. The puppet-master, under this empirical model, is not some anomalous entity that the label of “God” is slapped onto, but is instead the notion of the Anima or Animus in Jungian psychotherapy, or the idea of the Holy Guardian Angel in Hermeticism. Like even Plato’s notion of the Ideal Self, this model asserts that the transmission of a person’s waking consciousness is a reflection of their truest nature, their untainted and Ideal Self, or “soul.” The primary assertion here is nothing new. It is something that occultists and theologians have known for a long time, something that scientific philosophers have liked to empirically rationalize, and something that most humans consider to be true.
Media, as defined by Oxford Dictionary, is “the main means of mass communication regarded collectively.” The definition of medium, other than an indication of size, is “an agency or means of doing something; a means by which something is communicated or expressed,” and, “the intervening substance through which sensory impressions are conveyed or physical forces are transmitted,” also from Oxford Dictionary.
This same source lastly describes art as: “the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power; subjects of study primarily concerned with human creativity and social life, such as languages, literature, and history (as contrasted with scientific or technical subjects).”
As has been demonstrated through an aggregated, complex web of ideas asserted in this series, and the prior series, Your Esoteric Initiation Parts 1-7, “karma” is actually a representation of the social conditions of the individual as dictated by the state of their neurological network—“social,” in this case, reflecting the relationship that an individual has with their self and with everyone/thing else around them, as the relationship to the Self and others that a person has stem from the same neurons. This series has also demonstrated the power that this notion of karma has in the real world. Neurological states will dictate the specifics of a person’s brainwave functionality, their “stream of consciousness,” and this can in turn create what is called an “egregore,” which is a non-living yet still autonomous entity that has been created through a collective force of thought. An example of an egregore are the individual people that create a corporation, which is technically an entity that is separate from any of the individuals involved.
An individual person, in this sense, is the egregore of their collective neurological state. In line with this idea, when a person starts feeding specific habitual patterns, like drug addiction or picking up a hobby like painting, they are creating the egregore of themselves as the painter, or the addict. While the painter or addict is still a part of the whole individual, the character of the painter/addict/et cetera will begin to take on an autonomous nature of its own, as any painter/addict will tell you that they feel something missing when they are not doing what they enjoy. If this is difficult for a person to wrap their head around, then the study of fractals and Chaos Theory is recommended as supplementary research.
This model is also the nature of the “bad trip” on psychedelic chemicals like psilocybin and LSD, when a person begins “looping” as it is called, meaning that they cannot stop thinking about an idea. It is almost like the idea has taken on a life of its own, and the person is forced to separate themselves from the idea so as to stop from “looping,” which is a loop that can happen in waking like with conditions like Obsessive Compulsive Disorder. All of these notions are forms of the emotional egregore that a person can create in a negative sense. Art, is the pinnacle of a human’s potential to create an egregore, good or bad, before this transmission of energy begins actually attracting entity transmissions of the angelic or demonic variety (as outlined by the model given in this series).
Many occultists throughout history, continuing to today, have attributed their artistic presence to the channeling or transmission of outside forces—the artists acting as a metaphysical “medium.” From musical acts like Slipknot wearing horror movie-style masks or Maynard James Keenan wearing blue body paint to portray the entity that visits him during his own trance experiences, to Gene Roddenberry or David Bowie’s lifelong fascination with Gnosticism and the occult, to even the example of Francis Crick brain-storming his theories of the DNA molecule while reportedly influenced by LSD—these are all examples of either the egregore or full-on entity channeling used in art and/or artistic approaches to science. Before refraining from venturing too deep into speculation, the fractal nature of this egregore/entity model also appears to be a peek into the nature of trauma-based mind control, induced by Dissassociative/Multiple Personality Disorder, which was deeply studied by the Egyptian pyramid priests, all the way to the CIA’s Project MKULTRA, with quite a bit in between.
The final theoretical assertion is that of Media itself. As has been addressed, through the two series involving this research, Media itself has been developed by occult means from “square one.” Historians will note the occultists trying to conduct séances with the first phonographs; radio media and technology, aside from the blatant occult inspirations of Nikola Tesla, was largely developed by Military Intelligence (which has always been inspired by the occult). This line of research has largely been fleshed out by researchers Jan Irvin and Dr. Hans Utter from Gnostic Media.
Research has already been extensively conducted into the development of the television specifically for séances, and researcher Steve Outtrim has done an outstanding job of elaborating on the empirical occult inspirations of the internet. As outlined by Outtrim, not only was the computer technology developed by occulted Military Intelligence, its original industry, booming in Silicon Valley, was deeply inspired by the psychedelic-occult undertones of the intellectual elite of the area (Burning Man is intimately involved with this web of research as well). Through the brief list of material given here, this article thus asserts that not only has Media as it is known today become the ultimate egregore, it was developed intentionally as such.
Why is there such an innate drive in so many people to “get on TV,” or to “make it in Hollywood,” or “get signed to a label?” Furthermore, why is there such a hypnotic human draw of attention to a television or computer screen, like a moth to a flame? Why is it that so many people begin reacting differently when a recording device is pointed at them? Artists are so anxious to contribute to the zeitgeist, that they do not stop to consider what exactly they are contributing to.
The idea of “Mainstream Media” has become something disturbingly close to an artificial god or “false idol” as many theologians would say. Media is a platform that was specifically created as a malleable, energetic, metaphysic spectrum to use and manipulate as a tool. Mainstream Media is the direct intention that the Globalist Eugenicist agenda had in mind, as a sort of artificial set of puppet strings to attempt to corral the individual’s symbolic imagination—and the output of the artist’s imagination by industries like Hollywood, or the music industry, et cetera.
Not coincidentally, this is why a person can find these deeper occult influences the higher they look into the echelons of these industries. The people who rise to the top of the “Mainstream Media” industry are the individuals who recognize the media for the occult vessel that it truly is. Along this idea, the individuals referenced, such as Maynard James Keenan, David Bowie, and Gene Rodenberry, are not necessarily asserted to have malevolent intentions—and this is an idea that must be assessed on an individual case basis. Artists like Jay-Z, with an Aleister Crowley hoodie and a label like Rockefella Records, are likely a clearer indicator to malevolent intentions.
This article will leave the discussion here. The ideas at hand are meant to be theoretical and open-ended to consideration, but they are based on a detailed, open-sourced, and empirical mode of investigation. The artist is indeed in the medium for metaphysic energy in the same way that the shaman or magician is the medium for entity communion. However, the “entity,” of the “Media” as a whole, and especially the shade that is “Mainstream Media,” is an artificial egregore developed by fractal nature from the human imagination. Media is like the ultimate artwork—it is one hell of a result from a human collective channeling. The question left for the reader, is whether or not Media is a fractal reflection that brings humanity closer to the positive, or closer to the negative.
[accordion title=”21st Century Demonology Continued” close=”0″]Part 1: Esoteric Sciences, Fortean Cryptozoology, & Beyond
Part 2: Folklore, Sleep Paralysis, and Brain Waves
Part 3: Theurgy and Jacob’s Ladder to the Stars
Part 4: Media Metaphysics & Shamanic Trances
Part 5: Cast Index, Ceremony, and the Metaphysic Ecosystem[/accordion]
Sources: http://projectavalon.net/The_Holographic_Universe_Michael_Talbot.pdf, http://www.thelemapedia.org/index.php/Holy_Guardian_Angel, http://www.sacred-texts.com/neu/mbh/mbh17.htm, http://carl-jung.net/animus.html, https://muse.jhu.edu/article/584525, http://www.abarim-publications.com/ChaosTheoryIntroduction.html#.V_gVOiRZZNw, https://bigseance.com/2012/02/19/thomas-edison-and-the-phonograph/, http://www.teslasociety.com/tesla_and_swami.htm, https://www.youtube.com/watch?v=Iz5iV27Yaz0, http://www.clearnfo.com/shadow-history-burners/