The Truth Seeker's Guide: William Cooper

Showing posts with label William Cooper. Show all posts

Sunday, 16 February 2014

The Stanley Kubrick Conspiracy - Part 8: The Clues Were Always There

In February 1993, the legendary alternative knowledge researcher Bill Cooper discussed “2001: A Space Odyssey” on his radio show. Cooper described the Monolith as a symbolic catalyst for the beginning of the programming / control of humanity and how the Monolith effectively imparts “forbidden knowledge” to humanity, dismantling “paradise” in its wake. As witnessed in the “Dawn of Man” sequence of the film, the “forbidden knowledge” leads to the death of one ape at the hands of another. Cooper believed that the ape, “Moonwatcher”, was a symbol of the first priest or initiate of the mystery school teachings – instrumental in guarding the secrets of the ages, astral theology, the study of the Sun, Moon and Stars, etc. Cooper also highlighted the six transformations that Bowman goes through in the finale of the film, the sixth level of attainment in the mystery school teachings, and the associated “666” paradigm of occult teachings.

There are also further subtle indications of 666 embedded in the film:
“It also appears that the "monoliths" in the movie appear for 666 seconds. The time between the first appearance and final disappearance of each of the four "monoliths'," the four times added together, is 666 seconds. Additionally, there are apparently 666 camera shots starting from "The Dawn of Man" (the first shot after the opening credits) to "The End" (the last shot of the closing credits.) The running time of the film in seconds, from the beginning of the "Overture" to the end of the "Exit Music" (total exhibition time), is allegedly equal to the number of moon orbits contained in 666 years (8903). Alternatively, the running time in seconds, from the beginning of the MGM lion logo to the fade-out of the story, is equal to the number of moon phases contained in 666 years (8237). Everything before and after the movie proper, that is, the "Overture," end credits, and "Exit Music" times, adds up to 666 seconds. For an "added bonus", the director Stanley Kubrick was reported to have died 666 days before the year 2001, on March 7, 1999.” http://www.geocities.com/markamooky/2001_and_911.html

Other esoterically important numbers also appear prominently within the film. The masonic trinity or “3” is most obvious.
• The numbers 2001 (2 + 0 + 0 + 1) equal three.
• There are three words in the title after the 2001 – A, Space, Odyssey
• There are three eclipses in the film.
• There is an eclipse of three celestial bodies at the beginning of the film.
• The story takes place on or around three celestial bodies – the Earth, the Moon and Jupiter
• HAL consists of three letters –H,A,L
• There are three “conscious” entities on the ship – Dave, Frank and HAL
• There are three astronauts in hibernation
• The 'World Riddle' theme plays three times.
• It is also worth taking the time to count the sections, engines, pod bay doors, and the number of “triangular” (another “3”) shaped “ribs” that form the spine of the Discovery spacecraft.

Jay Weidner has proposed that Kubrick created “2001: A Space Odyssey” as a “visual and alchemical initiation into the on-going transformation and evolutionary ascent of man to a so-called Star Child destiny.” The obvious analogies are the celestial alignments that precede each of the alchemical transmutations in the film. The second main allegory is the monolith or “black stones” that initiates these transmutations. Again this mirrors the alchemical lore about the black stone (known under numerous monikers – most notably “The Philosopher’s Stone”) causing the transmutation of the alchemist. The film itself (the dimensions of the movie screen) shares the same dimensions as the monolith, prompting some researchers to consider the act of viewing the film as part of a greater ritual or working.

“Kubrick completely reveals that he understands the Great Work. The monolith represents the Philosopher Stone, the Book of Nature and the Film that initiates. Stanley Kubrick has truly made the Book of Nature onto film. Using powdered silver nitrates, that are then glued onto a strip of plastic, and then projected onto the movie screens of our mind, Kubrick has proven himself to be the ultimate alchemist-artist of the late 20th century.” (Jay Weidner, “Alchemical Kubrick 2001: The Great Work on Film”, 1999)

It is rare that I consider a Hollywood insider to have any sizeable degree of integrity or adherence to positive values and principles. However, where it matters, I consider Stanley Kubrick to be an exception to the rule. Despite clearly being on the inside (and obviously a Hollywood “illusionist”), his films have told us more about the hidden global agenda than any other Hollywood endeavour – albeit largely in the form of allegory and metaphor. Was Kubrick’s decision to enact a form of disclosure prompted by guilt or some twisted sense of dark humour? Did he become a prisoner of an industry that he once loved, and decided to articulate the things he came to see and know? We may never know for sure.

It is possible that there have always been clues indicating the predicament that Kubrick became trapped in. His reclusive nature has been attributed to the controversy surrounding “A Clockwork Orange” and his disdain for the way in which society was generally heading (he cited the crime culture of New York City as an example on one occasion), yet Kubrick displayed many obsessive compulsive traits throughout his entire life. His often bizarre behaviour (he was known to wander around his estate brandishing a shotgun at all hours of the day and night) should also give cause to wonder. Was he fuelled by a degree of justified paranoia, rather than mere reclusive tendencies?

Stanley Kubrick gave very few filmed interviews. Shortly before his death, he was given the D.W. Griffiths Lifetime Achievement Award at The Director’s Guild of America Awards and surprised the audience by giving a short “filmed message” of appreciation.

"I think there's an intriguing irony in naming the lifetime achievement award after D.W. Griffiths, because his career was both an inspiration and a cautionary tale… Griffith was always ready to take great risks in his films and in his business affairs. He was always ready to fly to high and in the end, the wings of fortune proved for him (like those of Icarus) to be made of nothing more substantial than wax and feathers... and like Icarus, when he flew too close to the Sun, they melted. And the man whose fame exceeded the most illustrious filmmakers of today spent the last seventeen years of his life shunned by the film industry he had created. I've compared Griffiths' career to the Icarus myth, but (at the same time) I've never been certain whether the moral of the Icarus story should only be, as is generally accepted, don't try to fly to high... or whether it might also be thought of as 'forget the wax and feathers and do a better job on the wings!'" http://www.youtube.com/watch?v=3p1T3sVX4EY

Sunday, 2 October 2011

Damning Documents - Part 3: Silent Weapons For Quiet Wars

   When examining the numerous “Damning Documents” that indicate the presence of a planned global agenda, the most hotly debated is the unusually named “Silent Weapons For Quiet Wars”. For not only does the item itself convey a seemingly unconventional approach to it’s subject matter, it also has a (now infamous and ambiguous) origin story… something that I will discuss further on.

   “Silent Weapons” or SWFQW, purports to be an “Operations Research Technical Manual” (TM-SW7905.1). It is dated as being produced in 1979 and is discussed by many as being part of a series of similar training manuals. Claims have been made that it is a CIA training manual issued to high level agents, though this remains unconfirmed. The document also states that the principles of the work evolved from the “Operations Research” (O.R.) developed through the strategic and tactical methodology of military management in England in WW2. This line of research is intrinsically connected to the work of The Tavistock Institute. What a lovely pedigree… if true!

   I will start with a brief overview of the document, so if you’re already familiar with it and want to read the rest of my post…   skip the next few paragraphs! The aim of SWFQW is to explain the processes that have been engaged upon an unwitting public in order to better distract and control said population. These processes include an advanced (for the time) system of economic engineering which incorporates varying and all pervasive degrees of social control. However, the system would be applied through a system of automation (with checks and balances), take advantage of the inherent psychological and emotional flaws in human nature (ultimately using our own nature against ourselves) and enhancing those aspects of our day to day lives that advance the “quiet war”. The masses must absolutely not become aware of this self-proclaimed declaration of war. Therefore the approach would be need to be systemic and stealthy… hence the name: Silent Weapons.

Unlike “Report From Iron Mountain“ (which only vaguely states the use of a complex system), SWFQW goes to great lengths to explain it’s included methodology and models. The declaration of a “quiet war” was made possible by advances in engineering, electronics, computing, simplex methods of linear programming, the transistor and the creation of the Maser (throughout the 1940s and 50s), combined with the Rockefeller funded: “Harvard Economic Research Project” and US Air Force involvement. SWFQW states that “the combination was irresistible”. It also states that the process was initiated at a meeting of the “International Elite” in 1954. Some have claimed that this was the first Bilderberg Group meeting, but remains difficult to verify.

What makes SWFQW more unusual is the inclusion of mathematical equations and schematic diagrams to represent the processes. “These are used to apply values to human consumption, commodities, the ebb and flow of currency, etc, to establish a model for which predictions and manipulation methods can be developed. Methods that would have a controlling effect on the people and benefit those controlling the economic system”.

It also talks about the use of economic “shock testing” (based on the aviation model of measuring echoes or reflections of the recoil impulse in airframes), “paper inductance / inflation” (exchanging true value for inflated currency), “future shock”, “computer association of personal preferences” (via UPCs, bar codes, etc.), “identifying consumers” (initially via credit cards and ultimately through a “permanent tattooed body number invisible under ambient illumination”) and finally, “balancing the system” (via gradually “killing off the true creditors of this exchange” - the public).

What has truly earned SWFQW it’s damning label, is the “ruthlessly candid” approach it takes… “with no agonizing over religious, moral or cultural values”. It makes numerous references to the people as “beasts of burden and steaks on the table by choice and consent”, that a “world of people who will not use their intelligence are no better than animals”, and that “low class elements… must be brought under control, i.e., must be housebroken, trained and assigned a yoke and long-term social duties from a very early age”.

The document also discusses the finer details of specific factors in the process. Monitoring all associations, relations, communication, loyalties, documentation, banking, assets, debts, claims, eating and drinking habits, fuel consumption, entertainment likes and dislikes, religious faiths, political tendencies, hobbies, hospital records… in fact every aspect of our lives in relation to this continuing system. It also proposes creating controlled situations such as: the availability of opportunities and commodities, output of advertising, news and the media, emotional distraction and the disintegration of the family unit.The ultimate goal seems to be the creation of ignorance, preoccupation, conformity, apprehension, and isolation; and the removal of self identity, defence mechanisms, faith, knowledge, awareness and social cohesion.

SWFQW’s opening passages make a claim of authenticity, based on the inside knowledge of several (one retired) individuals employed by or connected to Military Intelligence. For a long time, the story of it’s origins, placed it’s discovery in an old surplus IBM copy machine (in 1986) by a Boeing Aircraft employee. This story was never truly substantiated though. Through inclusion in his various writings, some have laid claim of authorship at the feet of William Cooper (of “Behold A Pale Horse” fame), although he has fervently denied this. Another writer, Delamar Duverus (of the American Sunbeam), was also associated.

It seemed for a while that the mystery had been put to bed, when one Hartford Van Dyke stepped up to the plate. However, this is where the story starts to be become, at worst, murky; at best, truly Twilight Zone! Maybe I have been negligent in my research or I‘ve simply overlooked some information, but I can’t seem to get a consistent profile of Hartford Van Dyke. He appears to be an enigmatic and factually elusive fellow, who’s story initially appears contradictory from source to source and finally seems to vanish off the face of the earth.

From 2003 onwards, one Joan d’Arc (a writer for Paranoia Magazine) began researching Van Dyke in relation to SWFQW. This lead the publication of some letters written by Van Dyke (who was, at the time, involved in a legal dispute that led to a prison sentence), where he claimed to be the document’s author. He explained how his father had been involved in the true history of the “Pearl Harbour” incident. His father’s silence, regarding his knowledge of the incident, spurred Van Dyke Jr. down a ‘truth’ path.

Van Dyke claimed that he came clean about SWFQW, after somebody voiced concerns regarding it becoming a source of disinformation. He mused on how, in the early days, he had distributed numerous copies to several individuals. One such person was a military officer at McChord Air Force Base, Washington. It has been debated that this may have been the source of the ‘IBM Copy Machine’ story.

   Van Dyke’s character and credibility has been coloured by much speculation. He has described himself as a "Non-Union Lawyer" and also as a "Commercial Lawyer", an exponent of the Commercial Lien Strategy of placing liens on law-breaking public officials on account of specific wrongdoing. It seems that this may be the reason for his incarceration, although he has never been fully specific himself about this. One source claimed that the official federal courts website contained the details of his trial, although a thorough search shows nothing relating to him. It seems that around the mid 2000s, he was still in prison…corroborated by letters he wrote about a hunger strike he had partaken. Although unsupported, one individual claims he was still in prison in late 2008. Other than this, I can find nothing more concrete. Is he still in prison? What was the true nature of his crime? If anybody knows, feel free to comment.

   His crime may relate to allegations that have been levelled at him from other sources. One website claims he was allegedly convicted of "trying to pass $3 million in bogus currency that featured a photo of the Queen of England". Another site connects him with Roger Elvick, who some credit as the founder of the “Redemption Process” or “Commercial Redemption”. These movements connect to the fraudulent nature of The Federal Reserve and aspects of the current legal and economic system, amongst other things. Others have associated Van Dyke with the “Freeman On The Land” movement. One, bizarrely, claims he is a proponent of The Theosophical Society! Those who have an interest in decrying Van Dyke’s claims seem to support him and vice versa. The whole thing is puzzling and for these reasons, I simply don’t know what to think about his claims of authorship.

   Regardless of ownership, some have questioned the authenticity of SWFQW through it’s use of terminology and language. Some say that it is clumsily written. Others say that a government or think tank document would not use terms such as: “ruling elite” and “pecking order”. There are also the references to UPCs, bar codes and credit cards… which some say didn’t exist at the time. If SWFQW was written in the late 1970s, then they were all in existence. Even if written earlier, there is evidence of these inventions from the 1950s onwards… even if only small scale applications or theoretical.

There is also the question of the equations and diagrams. A few weeks ago I spent a huge amount of time contacting some trusted individuals who were either trained, educated or worked in the fields of electronics, mathematics, engineering, physics, etc. I also contacted some fellow truth researchers who had a similar background. Not everybody got back to me (fair enough, they’re busy people!), but a good few did (many thanks… you know who you are!). There were also a couple of other people that I’ve more recently got acquainted with and wanted to speak to on the matter, but time was against me! Not having a huge understanding of this area (I get the basics!), I wanted to pick the brains of some reliable and learned folk. I posed the question: (trying to ignore the nature and implications of “Silent Weapons”) Do the included equations and diagrams have a basis in fact?

The almost unanimous conclusion was this: taken alone, the equations are difficult to dismiss. They do have a fundamental grounding in electronic, mathematical and scientific principles. They are not simply gibberish. Whoever conceived them, knew what they were doing. What did surprise me was: they all (even fellow researchers) did not want me to refer to them individually for fear of damaging their credibility. Maybe that was because of the context in which I’m writing… who knows, but I will respect their wishes.

Lastly, there is the obvious factor. It’s not proof, but it makes you wonder. Above and beyond most damning documents, “Silent Weapons” shows an incredible amount of foresight regarding the times we now live. We have all become prisoners of a corrupt and corporate banking system that exists on the principles of usuary, paper currency with no intrinsic value. We have a system based on inflation and interest rates, that would not continue without debt, loans and bailouts. We may as well have a currency system based on the value of pin pong balls for all the good it would currently do us. More tellingly, few ordinary folk realise the scale of obfuscation regarding this monetary enslavement.

It is the quintessential ‘Silent Weapon’…

Furthermore, the degradation of our privacy, communities, emotional and psychological well being, independent media and culture is shockingly real. Even if “Silent Weapons” doesn’t exist as a bona fide “official” document, it still serves as a stark reality call regarding the world being pulled over our eyes today.

Next Up: Global Governance 2025
Till Next Time!
The Truth Seeker’s Guide.

Books available from Carl James:
Science Fiction and the Hidden Global Agenda - Volume One - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-one/paperback/product-23209429.html
Science Fiction and the Hidden Global Agenda - Volume Two - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-two/paperback/product-23209433.html
What Really Happened at the London 2012 Olympics - http://www.lulu.com/shop/carl-james/what-really-happened-at-the-london-2012-olympics/paperback/product-23221527.html

About The Author

Carl James worked for many years in the healthcare profession - including four years as a therapeutic activities co-ordinator for the elderly. He also worked for many years as a singer, songwriter, musician and musical multimedia producer. He has worked on numerous musical projects - including fourteen years fronting one of the UK's leading tribute bands to rock legends The Who. He is the author of the alternative knowledge website "The Truth Seeker's Guide" and several alternative knowledge books. Carl is also an occasional graphic artist.